GIFT  OF 

.£.    Rogers 


PRIMER 


OF 


ELOCUTION 


AND 


ACTION 


By  F.  TOWNSEND  SOUTHWICK 


Oiuiin.il  Illustrations 


NEW  YORK 
EDGAR  S.  WERNER 

28  WEST  TWENTY-THIRD  STREET 
1890 


•:-..;      .-.-:: 


Copyright,  1890, 
EDGAR  S.  WERNER. 

All  Rights  Reservtd. 


TO 

.  ffletcbcr,  B./fc., 

TO  WHOM, 

AS  ARTIST,  TEACHER,  AND  FRIEND,  I  OWE 

MUCH  MORE  THAN  THIS  SIMPLE 

TRIBUTE  CAN  REPAY. 


869013 


THIS  little  work  is  intended  for  beginners  in  expres- 
sion. It  gives,  in  as  simple  language  as  the  writer 
can  command,  the  elements  of  the  art.  The  order  in 
which  the  lessons  are  given  is  in  accordance  with 
the  author's  experience  in  teaching  classes  of  the 
grade  for  which  it  is  designed.  Teachers  of  wider 
experience  may  find  another  arrangement  preferable  ; 
if  so,  it  is  an  easy  matter  to  assign  the  lessons  as  they 
pleaso.  The  difficulty  has  been  to  select  only  such 
exercises  and  rules  as  are  absolutely  essential  for 
young  students.  It  cannot  be  expected  that  all  will 
agree  with  the  author's  judgment  in  this  particular; 
nevertheless,  the  satisfactory  results  obtained  by 
adhering  strictly  to  the  matter  contained  herein  have 
convinced  him  that  while  much  of  importance  ni'jht 
easily  have  been  added,  nothing  that  was  absolutely 
necessary  has  been  omitted.  Suggestions  looking 
toward  improvement  will,  however,  be  thankfully  re- 
ceived. 

Toward  the  end,  the  lessons  are  more  difficult  and 
longer  than  in  the  beginning.  Since  the  book  was 
planned  to  cover  at  least  a  school-year  of  ordinary 
elocutionary  training,  the  latter  part,  it  is  hoped,  will 
be  found  to  have  but  kept  pace  with  the  mental  and 
artistic  development  of  the  pupil.  The  chapters  on 
pantomimic  expression  may,  however,  be  subdivided 
or  reserved  for  a  second  year's  course,  if  deemed  ad- 
visable. Many  pupils  will,  of  course,  go  over  the 
whole  ground  very  quickly. 

I  do  not  advocate  memorizing  the  lessons.  The 

5 


6  PREFACE. 

constant  necessity  for  applying  the  instructions  to  the 
practical  work  of  expression  will  soon  fix  in  the  pupil's 
mind  all  that  is  of  importance.  Discuss  thoroughly 
each  chapter,  multiplying  the  illustrations  and  trying 
to  lead  the  pupil  to  work  out  for  himself,  if  possible, 
the  solution  of  the  problems  under  consideration. 

Exercises  relating  to  a  particular  subject  are  num- 
bered consecutively  throughout  the  book  without  re- 
gard to  other  exercises  that  may  intervene.  For 
instance,  under  Breathing,  K\>  -ivi-, -s  1,  2,  and  3  will 
be  found  in  Lesson  IV.,  and  4,  5,  6,  and  7  in  Lesson 
XIX.  This  will,  it  is  believed,  aid  in  keeping  each 
subject  more  completely  apart  from  the  others  than  if 
the  ordinary  method  of  numbering  wero  followed. 

Little  will  be  found  here  relating  to  emotional  ex- 
pression; such  work  belongs  to  a  later  period  of 
mental  development  than  was  contemplated  in  pre- 
paring this  manual.  The  painful  exhibition  of  preco- 
cious, hot-house  passion  has  no  part  in  the  author's 
scheme  of  education.  Even  those  of  more  mature 
years  who  may  find  this  manual  useful  are  advised  to 
thoroughly  master  its  precepts  before  essaying  higher 
flights.  The  great  essential  is  a  solid  foundation  of 
conversational  delivery.  Emotion  that  is  genuine  \\ill 
find  its  own  outlet,  if  the  channels  of  expression  arc 
free. 

It  is  hard  to  specify  each  case  of  the  author's  in- 
debtedness to  others.  Little  can  be  claimed  for  the 
book  on  the  score  of  originality  except  in  an. 
ment  and  selection  of  material.  Much  of  its  contents 
is  the  common  property  of  all  good  teachers  ;  the  few 
things  that  are  not,  the  author  has  paid  well  for 
either  in  money  or  in  hard  work. 

17  E.  16TH  STREET,  NEW  YORK. 
August,  1890. 


CONTENTS. 


LESSON  PAGE 

Preface, 5 

I.     The  Speaker's  Position 11 

II.     The  Speaker's  Position,  continued, 14 

III.  Phrasing, 16 

IV.  Breathing-Exercises 19 

V.     Emphasis,  continued, 2.1 

VI.     Position,  continued 24 

VII.     Inflection, 26 

VIII.     Position,  continued— Flexibility, 29 

IX.     The  Vocal  Apparatus, CO 

x.     Vocal  Exercfcai 34 

XI.     Articulation, 36 

Xll.  Flexibility— Hands  and  Fingers— Wrists,     ...  38 

XIII.  Minor  Inflections— Position,  continued 41 

XIV.  Flexibility,  continued—  The  Vowels./continued,  .  43 
XV.     Emphasis,  continued, 47 

XVI.  For  Independence    of    the    Legs— The  Vowels, 

continued 50 

XVII.     Rules  for  Emphasis,  continued 52 

XVIII.  Flexibility,    continued— The  Vowels,  continued.  55 

XIX.  Breathing-Exercises,     continued— The     Vowels, 

continued, 57 

XX.  The  Language  of  the  Body— Pantomimic  Expres- 
sion   59 

XXI.     The  Tors,. 62 

XXII.  Inflections,  continued— The  Vowels,  continued,  .  65 

XXIII.  The  Legs 69 

XXIV.  Articulation— The  Vowels,  continued— The  Con- 

sonants,    72 

XXV.     The  Head, 74 

XXVI.  Articulation,   continued— Vocal  Exercises,  con'd.  78 

XXVII.     Attitudes  of  the  Head,  continued, 80 

XXVIII.     Climax, 84 

XXIX.     The  Eye, 87 

XXX.     Rhythm 90 

XXXI.  Actions  of  the  Hand,     ..,.,,....  93 

XXXII.  Articulation,    continued — Vocal  Exercises,  con'd.  96 

XXXIII.     Actions  of   the  Hand,  continued, 98 

XX  XIV.     Pitch,  Movement  and  Volume, 100 

XXXV.     Full- Arm  Gestures,  .     .     .     .     , 103 

XXXVI.     Oppositions  of  the  Head  and  Arms 108 

XXXVll.  Articulation,  con'd— Difficult  Combinations,    .     .  115 

XXXVIII.     Facial  Expression, 118 

XXXIX.     Description, 121 

XL.  Final  Hints  on  Attitudes  and  Bearings,  ....  124 

7 


LIST   OF   ILLUSTRATIONS. 


P.MiE 

Fig.    1.  Speaker's  Position 12 

Fig.    2.  Attitude  of  Reap               24 

Fig.    3.  Swaying  the  Hip 29 

Fig.    4.  Relaxing  the  Hand, : !» 

Fig.    5.  Relaxing  the  Wrist, 40 

Fig.    6.  Relaxing  the  Neck 43 

Fig.    7.  Swaying  the  Leg, 44 

Fig.    8.  The  Head  Erect ?:, 

Fig.    9.  The  Head  Bowed, ?.-, 

Fig.  10.  The  Head  Lifted 76 

Fig.  11.  The  Head  Pivoted 76 

Fig.  12.  The  Head  Inclined, 80 

Fig.  13    The  Head  Advanced, 81 

Fig.  14.  The  Head  Drawn  Back, 81 

Fig.  15.  The  Head  Hun  if 82 

Fig.  16.   The  Head  Thrown  Back, 82 

Fig.  17.  Simple  Indication,  Hand  Onlv 93 

Fig.  18.   Full-Arm  Indication. 104 

Fig.  19.   Indication,  Palm  I )O\VD,  Attitude  of  Hand,     .         .  104 

Kg.  30.  Folding  the  Ann  (a),  Pivoting lur, 

Fig.  21.   Folding  Hie  Arm  (ft),  at  the  Wrist 10.-, 

Fig.  22.  Folding  the  Ann  (r\  Completed,       ....  105 

Fig.  23.  Indication  with  Folding  Movement,          ...  100 
Fig.  24.  Oppositions  of  Head  and  Arm.  Bejfinninif  of  Indi- 
cation,   .         .         .         .         .         .         .         ,         .  110 

Fig.  25.  Oppositions  of  Head  and  Arm.  Conclusion  of  Indi- 
cation,      110 

Fig.  26.  Oppositions  in  Rejection.  Beginning,        .         .         .  111 

Fiif.  27.  Oppositions  in  Rejection,  ('onclusion.       .         .         .  Ill 

Fig.  28.  Oppositions  in  Atlirmation.  Beifinning,     .         .         .  112 

Fig.  29.  Oppositions  in   Allirniaiion.  Conclusion.  Side  View,  112 
Fig.  30.  Oppositions    in     Atlirmation.     Conclusion,     Front 

View 112 

Fig.  31.  Oppositions  in  Assertion.  Beginning. 

Fig.  32.  Oppositions  in  Assertion,  Conclusion.       .         .         .  113 

Fig.  33.  Oppositions  in  Repulsion— Advanced  Foot,      .         .  114 

Fiif.  34.  Oppositions  in  Repulsion— Retired  Foot,           .        .  114 

Fig.  35.  Attitude  of  Arms  in  Reflection,         ....  125 

8 


INDEX. 


PAGE. 

Actions  (see  Gestures), 64 

Analysis  for  Emphasis,  Rules  for,        .....     47,  52 

Arms,  The, 125 

Articulation 36,  72,  78,  9«5 

Articulation,  Difficult  Combinations,             115 

Attitude  (see  also  Position), 64 

Attitude,  The  Speaker's, 11 

Attitude  of  Respect,             24 

Attitude,  Laws  of, 70,  126 

Attitude,  Illustrations  of, 70 

Attitudes  and  Bearings,  Final  Hints  on,       .....  124 

Ball  of  Foot,  For  p'tting  Weight  of  Body  on,     ....  25 

Bearings  (see  also  Attitudes), 65 

Ho.lv,  The,             .* 126 

Body,  The  Language  of, 59 

Bowing, 89 

Breast-Bone, .        .31 

Breathing-Exercises, 19,  20,  57 

Chest,  The 14,  61,  62,  125 

Chest  and  Shoulders, 62 

Climax 84 

Consonants,  The, 73 

Description, 121 

Elbow,  The, 125 

Emphasis, 21,  47,  52 

Eye,  The • 87 

Eye,  Direct 87 

Eye,  Indirect, 88 

Facial  Expression, 118 

Feet,  The, .        .     13,  124 


10  INDEX. 

Flexibility:  rv.i. 

Ex.      I.  Hands  and  Fingers,         ......  39 

Ex.    II.  Wrists, 40 

Ex.  III.  For  Muscles  of  the  Neck  and  Jaw,         .         .         .4:: 

Ex.  IV.  For  Legs, 44 

Ex.     V.  For  Arms, .  :,:, 

Ex.  VI.  For  Arms, 

Forehead,  The 118 

Free  Side,             13 

Free  Foot,            13 

Gestures,      ...........  r>4 

Gestures,  Full-arm : 

Ex.       I.  Indication  (Palm  up).      ......  KM 

Ex.    II.  Indication  (Palm  down),           .....  104 

Ex.  III.  Indication  of  Self-fol:ling  movement,      .         .         .  K>"> 

Ex.  IV.  Suspense [06 

Ex.     V.  Returning  to  K                  ]«>7 

Hand,  The, !:>:• 

Hands,  Actions  of  the  : 

Ex.         I.  Simple  Indication,         ......  1W 

Kx.       II.  Beckoning, ;<:> 

Ex.     III.  Admiration 95 

Ex.      IV.  Repulsion,              95 

Ex.        V.  Appeal '.»s 

Ex.      VI.  Rejection.               i«s 

Ex.    VII.  Declaration. 98 

Ex.  VIII.  Declaration  with  surrender,          ....  '.<'.» 

Ex.     IX.  Concealment, 

Hna.l,  The 12.  74 

Kx.         I.  Erect,             7C 

Ex.       II.  Bowed 7f> 

Ex.     III.  Lifted 7'5 

Ex.     IV.  Pivoted 7»: 

Ex.        V.  Inclined 

Ex.     VI.  Advanced 81 

Ex.    VII.  Drawn  Back, •        .81 

Ex.  VIII.  Hung, 81 

Ex.     IX.  Thrown  Back 8! 

Hips.  The.             .         .     -    .         .         .         .             13,  14.  HI.  M.  liM 


INDEX.  10a 

PAGE. 

Hip,  Swaying  the, 29 

Imitation,               121 

Inflection,               26,  65 

Inflection  Minor, 41 

Inflection  Major, 41 

Inflection  Circumflex, 65 

Inflection  Double  Circumflex, 67 

Jaw,  Lower,  The, 120 

Knees, 14,  124 

Language  of  the  Body,  The, 59 

Larynx,         ...........  32 

Legs,  For  Independence  of  the,          ......  50 

Weight  on  om>  Foot 69 

Weight  on  Both  Feet,            71 

Lips,  The,              119 

Lungs, 30 

Mouth,  The, 119 

Movement,             ..........  100 

The,             119 

Oppositions  of  the  Head  and  Arms,              108 

Ex.      I.  Indication  with 109 

Ex.    II.  Rejection  or  Denial, 110 

Ex.  III.  Rejection  of  Trifles, Ill 

Ex.  IV.  Affirmation,              112 

Ex.     V.  Assertion 113 

Ex.  VI.  Repulsion, 114 

Pantomimic  Expression,       ........  59 

Phrasing,      ...........  16 

Pitch,  Movement  and  Volume, 100 

Poise,  Transition  of,     .........  42 

Position  (see  also  Attitude) 11,  14,  24,  29,  64 

Speaker's,  The, 11,  14 

Exercises  in,  Ex.       I, 12 

Exercises  in,  Ex.     II, 15 

Exercises  in,  Ex.  Ill, 24 

Exercises  in,  Ex.    IV, 25 

Exercises  in,  Ex.     V, 29 

Exercises  in,  Ex.    VI, 30 

Exercises  in,  Ex.  VII,    ...  42 


106  IXDEX. 

r.\<.K. 

Reading, 1C 

Rhythm, 90 

Shoulders,  The, 13.  14,  til.  62 

Sitting, 16.  71 

Standing  Front  View, 12 

Standing  Side  View, 14 

Strong  Foot, 13 

Strong  Side, 13 

Torso,  The, 61,  62 

Vocal  Apparatus,  The, 30 

Vocal  Bands, 32 

Vocal  Exercises,       ..........  34 

Ex.      I.   "  Start "  of  the  Tone, 34 

Ex.    II.   "  Start "  of  the  Tone, 35 

Ex.  III.  "  Start "  of  the  Tone, 35 

Ex.   IV.  For  Speaking  without  Waste  of  Breath, 

For  Forward  Placing  of  the  Voice,         ...  97 

Volume, 100 

Vowels,  The 36,  45,  52,  56,  58,  67,  72 

Wind-Pipe, 31 


PRIMEB    

OP 

ELOCUTION  AND  ACTION. 


LESSON  I. 


The  Speaker's  Position. 


The  best  position  for  the  speaker  is  that  in  which 
he  can  speak  or  read  effectively  for  the  longest  time 
with  the  greatest  ease,  and  which,  at  the  same  time, 
allows  the  greatest  freedom  of  movement. 

A  speaker  in  a  constrained  position  is  always  more 
or  less  embarrassed,  because  his  attention  is  called 
continually  to  unpleasant  sensations  in  his  hands,  feet, 
or  head,  as  the  case  may  be  ;  on  the  other  hand,  a 
comfortable  position  puts  both  speaker  and  audience 
at  ease.  Without  a  correct  and  graceful  position  the 
gestures  will  be  awkward  and  unnatural,  and  the  voice 
will  be  constrained  ;  therefore,  it  is  necessary  to  ac- 
quire this  first  of  all. 

11 


12 


F1UST  LESSON. 


EXERCISE  I. 
Standing. 

,     •  Front  View. 

Stand  in  an  animated  manner  with 
the  weight  of  the  body  upon  the  right 
foot,  which  should  be  firmly  planted 
on  the  floor;  have  the  chief  part  of  the 
weight  upon  the  ball  of  the  foot,  but 
do  not  let  the  heel  rise.  Do  not  let 
the  right  1.  and,  on  the  other 

hand,  do  not  stiffen  tin-  knee. 

The  RIGHT  HI  I'  will  tend  outward  a 
little  at  the  side.  This  i>  its  natural 
position  ;  do  not  draw  up  the  bod  \ 
that  the  hip  is  straight  above  the  foot. 
The  SHon.nr.Ks  will  incline  slightly 
to  the  left,  just  sufficiently  to  balance 
the  outward  position  of  the  hip.  If 
the  shoulders  are  kept  exactly  even,  the  right  side 
of  the  body  will  seem  to  overbalance  the  other  side. 
If  the  hip  and  shoulders  are  rightly  balanced,  the 
notch  in  the  collar-bone  (which  is  just  half-way  be- 
tween the  shoulders)  will  be  exactly  over  the  in-t. -p 
of  the  right  foot.  This  will  not  be  the  case  if  either 
the  hip  or  the  shoulders  are  out  of  position. 

The  HEAD  should  not  be  held  stitlh •  «>i\  ct,  but  al- 
lowed to  incline  a  very  little  toward  the  right 
shoulder. 


FIG.  1. 


THE  SPEAKERS  POSITION.  13 

The  ARMS  should  hang  loosely  and  naturally  at  the 
sides,  with  the  palms  of  the  hands  toward  the  body. 

The  LEFT  FOOT  should  be  aboiit  opposite  the  right 
foot  at  the  side,  and  at  a  little  distance  from  it,  the  left 
leo-  being  passive.  If  the  attitude  is  perfectly  easy 
ami  natural,  the  left  knee  will  fall  slightly  inward. 

Practise  this  position  with  the  weight  upon  the 
left  foot  also.  You  should  be  able  to  stand  equally 
well  on  either  foot. 

In  the  description  of  an  exercise  we  usually  speak 
of  the  foot  which  supports  the  weight  of  the  body  as 
the  strong  foot,  and  the  corresponding  side  of  the 
body  as  the  strong  side.  The  other  foot  we  call 
the  free  foot  because,  if  the  body  be  properly  bal- 
anced, it  will  have  complete  freedom  of  movement  in 
every  possible  direction. 

In  this  position,  as  we  described  it,  the  right  side 
was  the  strong  side,  and  the  left  the  free  side,  or,  as 
it  i^  sometimes  called,  the  "weak"  side.  When  the 
weight  of  the  body  is  transferred  to  the  left  foot,  that 
becomes  the  strong  and  the  right  becomes  the  free 
foot,  and  of  course  the  positions  of  hip,  shoulders, 
and  head  are  reversed. 


LESSON  II. 


The  Speaker's  Position.— Continued. 


Standing. 
Side  i 

Be  careful  that  the  KNKI :  <>f  the  strong  leg  is  firm 
without  stiffness. 

The  HIPS  should  not  be  thrown  forward,  which  gi\vs 
one  a  pompous  appearance,  nor  drawn  far  back. 

The  CHEST  should  be  active,  that  is,  expanded  but 
not  necessarily  inflated  with  air. 

Do  not  pull  the  SHOULDERS  back,  nor  draw  them  for- 
ward. Do  not  draw  in  the  CHIN  nor  lift  the  HEAD,  but 
look  straight  forward  toward  the  audience. 

Be  sure  that  there  is  neither  stiffness  nor  limpness 
anywhere  ;  try  to  have  a  springy,  animated  condition 
of  the  whole  body,  both  in  this  and  in  all  similar  ex- 
ercises. 

Avoid  nervous  twitchiugs  of  the  face  and  hands,  pick- 
ing with  the  fingers,  twisting  about  on  the  ankle,  in  a 
word,  all  unnecessary  movements  of  any  part  of  the 
body. 

U 


THE  SPEAKERS  POSITION.  15 

The  important  element  in  every  position  is  the 
proper  balance  or  poise,  as  it  is  called,  of  the  body. 
If  the  notch  in  the  collar-bone  be  kept  exactly  over  the 
middle  of  the  strong  foot,  the  body  is  properly  poised 
or  balanced,  and  the  arms  and  free  foot  can  move 
freely  in  all  directions  without  cramping  or  distorting 
any  part.  If,  on  the  contrary,  the  shoulders  incline 
too  far  either  to  the  right  or  to  the  left,  there  is  danger 
of  losing  one's  balance,  while  if  the  hip  be  drawn  in, 
there  will  be  stiffness  and  constraint. 

EXEECISE  II. 
Sitting. 

Sit  erect,  with  active  chest  and  animated  carriage 
of  the  whole  body.  Keep  the  feet  near  together,  one 
slightly  in  advance  of  the  other.  Let  the  hands,  if 
unemployed,  lie  easily  and  naturally  in  the  lap.  Do 
not  lean  against  the  back  of  the  chair,  nor  sit  stiffly 
erect,  but  sway  the  body  slightly  forward. 

To  THE  TEACHER:— Illustrate  by  example  both  correct  and  incorrect 
attitudes.  If  pupils  are  familiar  with  the  law  of  gravitation, 
call  their  attention  to  its  application  here.  Do  not  take  up  any 
further  work  in  position  until  these  lessons  are  thoroughly  un- 
derstood; but  do  not  wait  for  perfect  precision  before  going 
on.  Point  out  glaring  faults  as  they  occur,  but  do  not  strive 
for  ideal  perfection  in  attitude  ;  or,  for  that  matter,  in  expres- 
sion of  any  sort,  in  the  beginning;  the  result  will  be  loss  of 
spontaneity,  which  is  more  valuable  than  grace  or  mechanical 
perfection.  If  the  habitual  attitude  approximate  to  the  ideal, 
the  less  said  about  details  the  better.  Leave  much  to  nature, 
especially  with  very  young  pupils. 


LESSON  III. 

Phrasing. 


Stand  in  the  Speaker's  Position.  Hold  the  book 
unless  too  heavy,  with  one  hand  only — that  on  the 
strong  side, — supporting  the  back  with  three  fingers, 
and  holding  down  the  leaves  by  means  of  the  thumb 
aud  little  finger.  Accustom  yourself  to  use  either 
hand.  Keep  the  book  at  one  side  and  well  away  from 
your  eyes,  so  that  those  in  front  of  you  can  see  your 
face. 

1.  Read  to  bring  out  ideas,  not  words. 

A  group  of  words  combined  to  express  an  idea  is 
called  a  phrase,  and  the  grouping  of  words  as  we  read 
them,  so  as  to  convey  the  right  meaning,  is  called 
phrasing. 

2.  Try  to  think  each  idea  yourself  before  speak- 
ing it. 

3.  Pause  after  each  word  or  group  of  words  that 
expresses  a  separate  idea,  both  to  give  your  hearers 
time  to  understand,  and  to  give  yourself  an  opportu- 
nity to  master  the  next  idea.     Do  not  confine  yourself 
to  pausing  at  the  marks  of  punctuation ;  they  are  in- 
tended for  the  eye,  not  the  ear.     A  good  reader  will 


PHRASING.  17 

often  make  a  long  pause  where  there  is  not  even  a 
comma,  and  pause  longer  at  a  comma  in  one  place 
than  at  a  period  in  another. 

EXAMPLES. 

(a)  The  books  which  help  you  most  |  are  those  which  make  you 
think  the  most. Ill  The  hardest  way  of  learning  |  is  by  easy  read- 
ing; ||  but  a  great  book  I  that  comes  from  a  great  thinker,  I  is  a  ship 
of  thought,  II  deep  freighted  with  truth  I  and  with  beauty. 

(b)  There's  no  dew  left  on  the  daisies  and  clover, 

There's  no  rain  left  in  heaven, 
I've  said  my  "seven  times"  over  and  over, 
Seven  times  one  are  seven. 

In  both  the  examples  above,  we  make  many  pauses 
besides  those  indicated  by  the  marks  of  punctuation ; 
indeed,  sometimes  a  single  word  will  be  of  sufficient 
importance  to  demand  a  pause.  In  the  second  exam- 
ple, which  is  light  and  joyous,  the  pauses  are  much 
slim-tor  than  in  the  other,  but  they  must  be  percepti- 
ble, however  slight  they  may  be. 

Here  is  an  example  of  bad  phrasing,  such  as  occurs 
very  frequently : 

Listen  my  children  I  and  you  shall  hear  II 
Of  the  midnight  I  ride  of  I  Paul  Revere. 

or  worse  still : 

Of  the  mid  I  night  ride  I  of  Paul  Revere.  I 

The  first  phrase  is  nonsense.  How  can  one  "  listen 
my  children"  or  listen  any  one  else's  children  for  that 
matter  ?  Evidently  we  must  correct  that  by  pausing 


18  THIRD  LESSON. 

after  fl  listen,"  as  the  thought  is  complete  there — we 
are  told  to  listen.  Again,  we  should  not  pause  after 
"  hear,"  because  the  idea  is  incomplete  ;  we  are  not  to 
listen  in  order  that  we  may  hear  merely,  but  that  we 
may  hear  of  "  the  midnight  ride  of  Paul  Revere,"  or, 
if  we  wish  to  be  very  careful  in  our  phrasing,  "  of  the 
midnight  ride  |  of  Paul  Revere,"  but  certainly  not  "of 
the  midnight"  or  "of  the  mid." 

Correctly  phrased,  these  lines  would  be  read  : 

Listen  I  ray  children  I  and  you  shall  hear 
Of  the  midnight  ride  I  of  Paul  Revere, 

the  pause  after  "  ride  "  being  comparatively  slight. 

4.  Accustom  yourself  to  take  in  one  or  more 
phrases  at  a  glance,  so  that  you  can  raise  your  eyes 
from  the  book  and  speak  the  words  directly  to  your 
audience,  as  if  they  were  your  own. 

To  THE  TEACHER:— Practise  pupils  daily  on  analysis  for  ideas; 
have  them  group  phrases  on  the  blackboard,  and  strive  in  every 
way  to  awaken  the  analytic  powers,  until  they  are  able  to  phrase 
naturally  and  intelligently.  Few  teachers,  to  say  nothing  of 
pupils,  estimate  rightly  the  value  of  pause  as  an  element  in 
natural  delivery.  I  have  heard  eminent  readers  who  had  not 
mastered  that  means  of  expression.  Pause  has  a  vastly  broader 
field  than  the  mere  separation  of  ideas.  Notice  how  frequently 
we  hesitate  in  conversation,  always  thinking  the  thought  before 
expressing  it,  and  pausing  for  a  greater  or  less  time  as  the 
thought  is  complicated  or  simple.  Again,  in  the  expression  of 
strong  emotions,  we  take  time  to  gather  ourselves  together  for  a 
mightier  effort  than  usual ;  and  sometimes  feeling,  especially  in 
emotions  that  affect  the  larynx  powerfully,  seems  to  stand  in  the 
way  of  expression,  choking  down  the  voice,  and  tying  up  the 
muscles,  until  the  pent-up  passion  at  last  forces  its  way  through 
every  obstacle.  Though  our  pupils,  at  this  stage  of  their  work, 
have  no  use  for  such  extreme  expressions,  yet  by  accustoming 
them  to  pause  frequently  and  long  they  not  only  acquire  the 
power  of  reposeful  expression,  but  lay  the  foundation  for  more 
difficult  achievements. 


LESSON  IV, 

Breathing-Exercises, 


Breathing-exercises  are  intended  to  increase  the 
power  and  capacity  of  the  lungs. 

EXEBCISE  I, 

Standing  in  the  Speaker's  Position,  place  both 
hands  ;it  the  front  of  the  waist,  just  below  the  breast- 
bone, in  such  a  manner  that  the  middle  fingers  of  one 
hand  just  touch  tho  middle  fingers  of  the  other.  (1) 
Keeping  the  mouth  closed,  breathe  in  through  the 
nose  until  the  lungs  are  comfortably  filled  with  air, 
Sond  the  breath  down  toward  the  waist  as  if  to  push 
away  the  hands.  (2)  Breathe  out  slowly  until  you  feel 
a  sense  of  perfect  relaxation  (not  exhaustion)  at  the 
waist ;  then  inhale  as  before. 

Eepeat  this  exercise  several  times.  Let  the  hand 
follow  the  inward  movement  at  the  waist  when  you 
exhale,  without  exerting  pressure, 

EXERCISE  II, 

Have  the  same  action  of  the  breath,  with  the  hands 
at  the  sides  of  the  waist  as  in  Exercise  I.  Here  the 
hands  may  gently  assist  the  inward  movement. 

19 


20  FOURTH  LESXOX. 

EXEUCISE  III. 

Place  the  hands  at  the  small  of  the  back  ami  breathe 
as  before.  There  should  be  a  feeling  of  expansion 
and  relaxation  here,  also,  but  it  will  not  be  so  marked 
as  in  the  other  exerci 

CAUTIONS. 

In  all  breathing-exercises  there  must  be  no  con- 
sciousness of  muscular  effort.  This  is  an  important 
point.  It  is  easy  to  push  out  and  draw  in  the  dia- 
phragm or  the  abdomen  by  more  or  less  violent  mus- 
cular action ;  and,  with  a  little  practice,  an  abnormal 
power  of  expansion  and  contraction  may  !•••  developed 
in  the  Waist-region,  with  the  result  of  producing  a 
strained  and  "muscular"  quality  of  the  voice,  and 
utterly  destroying  the  eas,-,  flexibility  and  unconscious 
activity  which  are  characteristic  of  all  normal  opera- 
tions of  the  healthy  body. 

Expansion  of  the  lungs  everywhere  must  seem  to 
be  purely  an  act  of  the  will,  and  not  of  the  muscles. 
The  air  must  seem  to  expand  the  lungs  as  a  balloon  is 
expanded  by  gas  ;  instead  of  which,  vocalists  often  trv 
to  produce  a  vacuum  by  a  violent  pulling  apart  of  the 
walls  of  the  chest,  and  letting  tin-  air  rush  in  as  it  will. 
I  call  attention  to  this  misconception  of  the  subject, 
because  it  is  held  by  teachers  who  should  know  better, 
and  is  a  fruitful  source  of  vocal  faults,  to  say  nothing 
of  physical  derangements. 

See  that  the  waist  and  not  the  abdomen  is  the 
active  centre. 


BREA  THING-EXERCISES.  21 

Beware  of  overcrowding  the  lungs  ;  it  is  not  the 
amount  but  the  control  of  breath  that  produces  re- 
sults. 

To  THE  TEACHER: — See  that  these  exercises  are  performed  very  gen- 
tly and  slowly,  with  only  a  medium  supply  of  breath  at  first,  and 
for  but  a  short  time  each  day.  Delicate  pupils  are  sometimes 
unequal  to  more  than  a  few' minutes  of  lung-exercise.  Never 
force  them  beyond  what  can  be  done  with  perfect  comfort.  I 
am  tempted  to  insert  the  customary  protest  against  the  barbarous 
and  silly  custom  of  tight-lacing,  but  so  much  has  been  written 
and  spoken  against  this  utterly  indefensible  method  of  self- 
destruction,  that  ignorance  on  such  a  vital  point  is  inexcusable. 
Sensible  parents  and  teachers  know  their  duty  ;  the  law  of  the 
survival  of  the  fittest  will  take  care  of  the  rest. 


LESSON  V. 


Emphasis. 


JOHN  is  si  lour,  .IAMKS  is  TALL. 

You  could  ha  nil  v  make  a  mistake  in  the  division  of 
t'n is  sentence  if  you  tried  ;  but  it  may  be  read  in  many 
ways,  each  of  which  would  convey  a  different  meaning. 
For  instance,  if  some  one  had  asked  which  of  the  boys 
was  short,  you  would  say:  "John  is  short."  If  he 
should  contradict  you,  you  would  assert  emphatically  : 
"John  is  short."  If  he  had  asked  whether  John  was 
short  or  tall,  your  reply  would  be :  "  John  is  short" 
If  he  had  asked  how  he  might  know  the  boys  apart, 
you  might  answer :  "  John  is  short+  James  is  tall" 
Each  of  these  meanings  is  brought  out  by  means  of 
what  is  called  emphasis,  and  the  word  that  is  made 
prominent  is  said  to  be  emphatic. 


22  FIFTH  LESSON. 

In  ordinary  conversation,  we  generally  make  the 
emphatic  word  prominent  by  giving  it  a  higher  pitch. 
When  we  are  more  earnest,  we  dwell  a  little  longer 
upon  the  emphatic  word  than  upon  the  other  words  in 
the  phrase.  If  we  wish  to  be  very  impressive,  or  to 
give  the  emphatic  word  extraordinary  weight,  we 
pause  before  it,  as  if  to  gather  strength  for  utterance. 
This  keeps  the  hearer  in  suspense,  and  compels  liini 
to  notice  the  emphatic  word  when  it  is  finally  spoken. 

Beading  should  seem  like  conversation,  and  we 
should  try  to  use  these  three  methods  of  emphasis,  as 
far  as  possible,  just  as  we  do  in  speech. 

It  is  not  only  unnecessary  but  vulgar  in  conversa- 
tion to  make  the  emphatic  word  louder  or  rougher 
than  the  rest,  unless  we  are  expressing  some  emotion 
that  calls  for  greater  power,  or  are  trying  to  make  our- 
selves heard,  as  in  the  following  example : 

Call  naturally,  "  come  here !  come  HERE  !  come 
HEEE !"  increasing  the  emphasis  with  each  repetition 
of  the  words.  You  will  notice  that  the  pitch  of  the 
word  "here"  is  higher  at  each  increase  of  emphasis. 
This  will  serve  to  illustrate  the  principle  that  the 
greater  the  emphasis,  the  higher  is  the  pitch  of 
the  emphatic  word  compared  with  the  pitch  of  the 
other  words  in  the  phrase,  and  the  longer  is  it 
dwelt  upon. 

Practise  the  following  exercises.  Notice  that  in 
natural  speech  the  voice  rises  step  by  step,  until  the 
emphatic  word  is  reached,  and  that  if  any  words  fol- 


23 

low  the  emphatic  word  they  are  spoken  more  rapidly 
and  with  a  downward  movement  of  the  voice  : 

9 


walk  with 

you.     Etc. 

Practise  these  with  different  degrees  of  emphasis 
and  rates  of  movement. 

Emphasis  is  to  a  phrase  what  accent  is  to  a  word. 
For  instance,  we  say  "  education,"  just  as  we  say  "  I 
am  ivriting" 

Other  examples  : 

wrong  rith'- 

You  ««,       =  a-         ™- 


cred'it 
I  wlthyou.  clis  able. 

To  THE  TEACHER  :  —  Write  these  and  similar  exercises  upon  the 
blackboard,  and  accustom  the  pupils  to  follow  the  pointer,  giv- 
ing at  once  whatever  emphasis  you  may  indicate.  Speak  a  sim- 
ple sentence  or,  better  still,  a  combination  of  letters,  numbers, 
or  vowel-sounds,  and  have  the  pupils  write  it  upon  the  black- 
board, indicating  your  emphasis  and  pauses,  if  there  be  any. 
The  emphatic  word  may  be  delivered  in  a  much  softer  tone  than 
the  rest  of  the  phrase;  and,  if  pitch  and  prolongation  are  cor- 
rectly given,  the  meaning  will  be  perfectly  clear.  This  is  an  ex- 
cellent exercise  for  overcoming  any  tendency  to  boisteroirsness, 
and  for  acquiring  a  refined  and  reposeful  delivery. 


LESSON  VI. 


Position. — Continued. 


EXERCISE  III 


ml  with  the  heels  touching,  tin-  feet 
being  turned  out  at  an  angle  of  about 
sixty  degrees.  Bear  the  weight  of  the 
body  upon  the  balls  of  both  feet  equally. 
•  both  leg*  straight,  and  knees  timi. 
Have  no  inclination  of  the  body  to  either 
side.  Let  the  head  fec%  «  rect, 

with  eyes  looking  straight  forward.  The 
anus  fall  at  the  BJ  in  the  Speaker's 

Position.  Do  not  lift  or  draw  bark  the 
head  or  shoulders.  n,.r  push  forward  the 
hips  so  as  to  hollow  the  bark. 

This  is  called  the  position  of  Respect, 
and  is  the  formal  attitude  when  about  to 
bow.     It  is  very  like   that  of   the    soldier 
on  dress  parade,  and  says  :  "  I  arn  at  your  service." 


Ki  ;. 


POSITION.  25 

EXERCISE  IV. 

For  Getting  the  Weight  of  the  Body  upon  the  Ball  of  the 

Foot. 

Standing  as  described  on  page  24,  rise  slowly  upon 
the  balls  of  the  feet  until  the  heels  are  at  a  considerable 
distance  from  the  ground,  then  slowly  return  to  the 
original  position.  Do  not  change  the  attitude  of  the 
body  in  the  least  during  this  exercise.  Inhale  slowly 
as  you  rise,  and  let  the  breath  go  as  slowly  while 
descending. 

If  the  body  has  to  poise  forward  before  it  can  rise, 
the  weight  is  on  the  heels  and  the  position  is  incorrect. 
Watch  that  the  body  does  not  sag  back  upon  the 
heels  when  you  return  to  position,  and  practise  this 
exercise  until  carrying  the  weight  of  the  body  upon 
tin-  l>all  of  the  foot  becomes  a  habit;  see  that  you  do 
so  at  all  times  while  walking  or  standing.  In  rising 
there  is  often  a  tendency  to  push  the  hips  out  in  front 
or  draw  the  shoulders  back ;  avoid  even  the  slightest 
tendency  to  do  either. 

Do  not  cramp  the  body,  but  let  everything  be  done 
with  perfect  ease.  Try  to  feel  as  if  you  were  buoyed 
up  by  the  air,  as  you  would  be  in  the  water. 

Remember  that  the  more  slowly  you  practise  all  ex- 
ercises, the  greater  will  be  your  control  over  the 
muscles.  Nervous,  jerky  movements  mean  lack  of  con- 
trol, and  result  in  habits  of  angular,  awkward  action, 
Grace  comes  from  the  rr  feet  command  of  every  mus- 
cle, even  the  smallest. 


LESSON  VII. 


Inflectioh. 


\Ye  have  seen  that  the  words  in  a  phrase,  like  the 
syllables  in  a  word,  differ  in  pitch;  that  is,  that 
speech,  like  music,  has  melody.  Not  only  is  this  the 
case,  but  in  every  syllable  the  voice  is  constantly 
moving  up  or  down  tin-  scale.  It  is  in  this  respect 
that  speech  differs  most  widely  from  snng,  whore  every 
note  must  be  sustained  on  a  level.  This  movement  or 
bending  of  the  voice  on  a  word  is  called  inflection. 

The  inflections  of  the  voice  are  very  numerous,  and 
We  shall  have  occasion  later  to  study  many  of  them  ; 
for  the  present,  however,  we  will  confine  ourselves  to 
the  two  simplest:  the  rising  and  the  falling. 

The  rising  inflection  (')  indicates  uncertainty, 
doubt,  indifference,  timidity  or  deference  to  the  will  of 
the  person  addressed. 

EXAMPLES. 

Is  it  John?  =  uncertainty,  doubt,  timidity. 
Will  you  come?  =  deference  to  the  bearer. 
Certainly  =  indifference. 

26 


INFLECTION.  2? 

the  falling  inflection  ( x )  is  positive,  and  denotes 
completeness,  certainty,  and  expresses  the  will  of  the 
speaker. 

EXAMPLES. 
It  is  John. 

"Will  you  come  ?=  "  you  must  come." 
Certainly. 

Rising  inflections  start  from  the  lower  or  middle 
tones  of  the  voice  and  sweep  upward. 

Falling  inflections  strike  a  high  pitch  and  sweep 
downward. 

Just  as  with  the  melody  of  emphasis,  the  extent  of 
the  inflection  will  depend  upon  the  strength  of  feeling 
behind  it.  Sometimes,  as  in  great  surprise,  the  voice 
sweeps  through  the  compass  of  an  octave  on  a  single 
word.  In  ordinary  speech,  the  range  is  very  narrow. 
Practise  the  exercises  in  Lesson  V.,  with  many  degrees 
of  both  rising  and  falling  inflection,  until  you  can  com- 
mand them  at  will. 

In  ordinary  questions  and  in  phrases  which  imply 
indifference  or  timidity  on  the  part  of  the  speaker,  the 
words  following  the  emphatic  word  tend  upward  in- 
stead of  downward,  as  in  a  positive  statement.  Here 
the  wider  range  of  inflection  distinguishes  the  emphatic 
word  from  the  rest  of  the  phrase.  It  is  as  if  the  im- 
pulse of  the  emphatic  word  carried  the  remaining 
words  upward  in  spite  of  themselves.  E.g.,  Are  you 
sure  of  it  ? 

When  a  question  is  asked  with  great  earnestness  it 


2S  4SETEXT1I  LESSON. 

often  has  the  falling  inflection,  much  as  if  it  were  a 
positive  statement.  Compare:  Can  you  prove  it?  I 
can  prove  it. 

Inflection  indicates  the  state  of  the  speaker's 
mind ;  it  has  nothing  to  do  with  the  grammatical 
construction  of  the  sentence. 

Positive  statements  are  sometimes  put  in  the  form 

of  a  question  for  greater  effect  E.g.,  Isn't  it 
Would  you  have  believed  it  ?  Is  it  not  wonderful  ? 
meaning,  it  is  so;  you  would  not  have  believed  it;  it 
is  wonderful.  Questions  like  these  are  not  asked  for 
information;  they  answer  themselves.  Tlies^  "rhe- 
torical questions,"  as  they  are  called,  may  sometimes 
be  given  with  a  rising  inflection;  generally,  however, 
they  are  spoken  with  a  falling  slide  of  the  voice. 

To  THE  TEACHER :— Drill  the  pupils  separately  and  in  unison,  in 
various  keys  and  through  as  wide  a  ran  ire  of  inflection  a>  pi.*- 
sible  without  strj«ininir  their  voices.  The  object  of  this  practice; 
i^  not  to  lay  down  cast-iron  rules  to  be  follow  ed  mechanically, 
but  to  irive  the  pupil  command  over  his  voice  The  minute  di 
of  inflection  which  give  so  many  subtile  and  beautiful  effects  in 
conversation,  and  occasional  departures  from  the  ireneral  type  of 
melodic  movement  in  phrast >  and  >cntences,  especially  in  what 
arc  known  as  "  final  cadences,"  should  be  allowed  and  encour- 
aged when  they  are  true  to  nature.  He  careful,  however,  that 
they  do  'not  degenerate  into  mannerisms  or  tunes.  Teach  the 
pupil  to  associate  inflection  with  conditions  of  the  mind  rather 
than  with  the  ear.  For  instance,  in>tead  of  sayini;  "giT«  this 
word  a  falling  inflection,"  x-iy  ">peak  more  positively"  «r 
"more  earnestly."  When  the  ear  is  deficient,  this  is  the  only 
method;  but,  if  patiently  followed,  it  will  prove  ellicaciou.- 
in  the  most  obdurate  cases. 


LESSON  VIII. 


Position.— Continued. 


EXERCISE  V. 
Swaying  the  Hip. 

Stand  in  the  Speaker's  Position, 
let  us  say  upon  the  right  foot. 
Place  the  hands  upon  the  hips 
at  the  broadest  part  (not  at  the 
waist).  Slowly  push  the  hip  across 
with  the  right  hand  until  the 
weight  of  the  body  has  been 
changed  to  the  left  side.  Let 
everything  else  follow  the  move- 
ment of  the  hip.  When  this  exer- 
cise is  properly  performed,  the 
body  will  be  in  perfect  poise  upon 
the  left  foot.  Keturn  again  in  the 
same  way  to  the  right  foot,  and 
repeat  many  times. 
Avoid  jerks  and  twists  of  the  body  everywhere. 

29 


FIG.  3. 


30  EIGHTH  LESSON. 

EXERCISE  YI. 
Flexibility. 

Standing  as  before,  carry  the  hip  outward  at  the 
strong  side  as  far  as  possible,  without  losing  the 
balance  or  stiffening  the  body.  The  shoulders  will, 
of  course,  move  in  the  opposite  direction.  Be  care- 
ful not  to  bend  the  knee  nor  let  the  chest  collapse. 
Return  to  the  erect  position  and  repeat.  Then  change 
the  weight  to  the  opposite  foot  and  practise  in  the 
same  way. 

To  THE  TEACHER:— Practise  these  exercises  with  feet  apart  at 
various  widths  ;  and,  as  soon  as  the  movement  is  understood, 
with  the  arms  hanging  at  the  - 


LESSON  IX. 

The  Vocal  Apparatus. 


Whenever  we  speak  or  sing,  we  make  use  of  the 
lungs,  the  larynx,  the  mouth  and  the  nose. 

The  LUNGS  are  contained  in  the  cavity  of  the  chest 
and  furnish  the  breath,  which  is  to  speech  what  the 
steam  is  to  an  engine.  When  the  supply  of  steam  is 
low  in  the  boiler,  the  engine  comes  to  a  standstill,  and 
when  the  supply  of  breath  is  less  than  it  should  be,  it 


THE   VOOAL  APPARATUS  31 

is  impossible  to  speak  well.  It  is  important,  therefore, 
to  learn  to  keep  the  breath  back  while  speaking,  and 
not  allow  it  to  escape  faster  than  is  necessary ;  also  to 
increase  the  capacity  of  the  lungs  for  containing  air. 
It  is  for  this  reason  that  we  practise  breathing-exer- 
cises, which  strengthen  and  develop  the  lungs  and 
give  control  of  the  breath.  It  is  quite  as  important, 
however,  that  we  should  be  able  to  let  the  breath  go 
at  will  as  that  we  should  be  able  to  retain  it,  and  we 
should  pay  just  as  much  attention  to  the  relaxing 
movements  which  occur  when  we  cease  to  hold  the 
breath.  This  relaxation  must  be  natural  and  gentle. 
The  lungs  should  not  collapse  like  a  bursted  bag,  but 
the  air  must  pass  out  quietly  as  it  entered.  Until  we 
have  gained  control  of  the  breath,  all  exercises  should 
be  practised  very  slowly.  After  a  time,  however,  we 
may  also  practise  taking  and  letting  go  of  the  breath 
suddenly,  being  very  careful  that  movements  are  never 
violent. 

The  BREASTBONE  has  an  important  function  in  voice- 
production.  It  acts  like  the  sounding-board  of  a  piano 
or  a  violin,  and  serves  to  increase  the  resonance  of  the 
voice.  If  the  chest  be  passive  or  sunken,  the  tone 
will  be  weak,  no  matter  how  much  force  we  use  ;  on 
the  contrary,  if  the  chest  be  active,  the  tones  of  the 
voice  will  be  strong  and  vigorous. 

The  WINDPIPE  or  TRACHEA  is  the  tube  through  which 
the  air  passes  from  the  mouth  to  the  lungs  and  back 
again.  At  its  upper  part  it  expands  into  a  sort  of  box, 


32  NINTH  LESSOR 

the  front  of  which  may  be  felt  in  the  throat  under  the 
chin.  This  part  of  the  windpipe  is  called  the  LAKYNX. 
It  opens  into  the  mouth  just  back  of  the  root  of  the 
tongue.  When  we  swallow,  this  opening  is  closed  so 
as  to  prevent  the  food  from  getting  into  the  windpipe, 
which  is  both  unpleasant  and  dangerous ;  when  wo 
speak,  however,  it  is  necessary  to  have  this  opening  as 
free  as  possible. 

All  vocal  sounds  are  begun  in  the  larynx,  which  has 
within  it  a  pair  of  lips  called  the  v<><  AI.  I'.AM>S  or  < oi;j)S. 
The  edges  of  these  are  set  in  vibration  by  tin*  air,  as  a 
violin  string  is  by  the  bow  or  tin-  reed  of  a  clarinet  by 
the  breath  of  the  player.  Those  of  us  who  whistle 
adjust  the  lips  and  produce  sound  in  much  the  same 
way  that  nature  adjusts  the  vocal  bands  and  produces 
speech;  only  nature,  being  a  much  more  clever  artist 
than  the  best  whistlei,  manages  her  task  in  a  far  more 
delicate  and  perfect  manner.  She  knows  exaetlv  how- 
to  make  the  sound  we  wish,  and  oiil\  asks  us  to  let 
her  alone  and  give  her  all  the  room  possible  in  the 
mouth,  in  order  to  let  the  sound  out  after  it  is  made. 
The  throat,  therefore,  should  be  perfectly  free  and 
unconstrained,  and  we  should  particularly  avoid  mak- 
ing chewing  or  swallowing  movements  during  speech, 
which,  as  we  have  seen,  tend  to  shut  the  voice  in. 

Do  not  open  the  mouth  so  wide  that  the  speech 
seems  labored,  nor  keep  it  so  tightly  closed  that  the 
sounds  see-M  t  •  c  UD  ii. rough  the  teeth;  it  should  be 
opened  gently  and  comfortably.  Do  not  pull  the  jaw 


THE    VOCAL  APPARATUS.  33 

down,  but  let  it  relax  naturally  at  tlie  back,  as  if  it 
dropped  away  from  the  upper  jaw. 

Let  the  tongue  lie  loosely  and  easily  in  the  mouth. 
Do  not  twist  it  about  unnecessarily  nor  cramp  it  in 
trying  to  keep  it  quiet.  If  the  tongue  persists  in  ris- 
ing at  the  back  so  as  to  obstruct  the  sound,  practise 
the  vocal  exercises  with  the  tip  pressed  against  the 
teeth  and  the  back  drawn  down  as  in  gaping,  until  the 
bad  habit  is  overcome.  Do  not  make  this  manner  of 
practising  habitual,  however,  or  you  will  injure  your 
voice.  A\V  shall  have  more  to-  say  of  the  tongue  when 
we  come  to  the  subject  of  articulation. 

It  is  important  that  the  passages  in  the  nose  be  kept 
free  and  open  for  the  passage  of  sound.  The  practice 
of  hum  in  ing  for  a  few  minutes  daily  is  of  value  for 
gaining  "head-resonance,"  as  it  is  called;  that  is, 
vibration  of  the  resonance-chambers  in  the  face. 

T<>  Tin;  TKACHKU  :— Illustrate  sonic  of  the  wrong  ways  of  using  the 
vocal  apparatus  ;  for  instance,  speaking  with  collapsed  e. 
"nasal."  "throaty"  and  "muscular"  qualities,  and  impress 
upon  the  minds  of  pupils  the  necessity  for  a  simple  and  unaf- 
fected manner  of  speaking  with  pure,  resonant  tone.  Correct 
bad  habits  whenever  they  appear.  If  you  teach  other  subjects, 
do  not  wait  for  the  elocution  hour,  but  insist  that  the  multipli- 
cation-table be  -riven  a  meaning  as  well  fts  the  reading-lesson. 
The  habit  of  refined  conversation  is  of  more  importance  than 
the  acquirement  of  a  few  showy  pieces  for  exhibition  purposes. 
The  foregoing  lesson  may  be  used  with  good  results  as  a  study 
in  emphasis,  as  the  meaning  will  thereby  be  brought  home  to 
every  pupil— an  important  point,  as  this  lesion  furnishes  the  key 
to  many  succeeding  exercises. 


LESSON  X. 


Vocal  Exercises. 


"Start"  of  the  Tone. 

Practise  breathing-exercises  for  a  few  minutes  as  in 
Lesson  IV.,  but  breathing  through  the  mouth  as  well 
as  through  the  Dose,  letting  the  jaw  fall  easily.  AVe 
should  always  breathe  through  the  nose  except  ill 
speaking  or  singing,  when  we  use  the  mouth  also. 

I  .       !K  ISK    I. 

(1)  Open  the  month  as  if  to  say  ah.     Be  very  care- 
ful that  there  is  no  constraint  at  the  throat,  and  that 
the  back  of  the  tongue  does  not  rise  in  the  mouth. 

(2)  Slowly  inhale  through  the  mouth. 

(3)  As  soon  as  an  ordinary  breath    has  been  taken, 
trying  not  to  allow  any  air  to  escape  from  the  lungs, 
pronounce  in  a  moderately  loud  tone  tin-  vo  \\vl-sound 
ah,  as  if  asking  a  question. 

(4)  The  instant  the  sound  ceases,  let  the  breath  go; 
then,  without  closing  the  mouth,  and  still  keeping  the 
jaw  relaxed,  breathe  in  again  and  repeat  the  exer 

Practise  in  a  series  of  ten  repetitious.  Use  also  the 
sounds  dj  c,  0,  and  00, 

34 


VOCAL  EXERCISES.  35 

Bemember  (a)  to  retain  tlie  breath  while  making 
the  sound ;  (b)  to  let  the  breath  go  the  instant  the 
sound  ceases ;  (c)  to  keep  the  open,  relaxed  position 
of  the  throat  and  mouth  during  each  series, 

EXERCISE  II. 

Practise  in  the  same  way,  sustaining  the  tone  on  a 
level  as  in  singing. 

EXERCISE  III. 

Practise  with  falling  inflection. 

These  exercises  should  also  be  practised  with  the 
hands  in  tho  various  positions  indicated  in  Lesson  IV., 
in  order  to  be  certain  of  the  proper  action  of  the 
breathing-apparatus. 

To  THE  TEACHER  :— At  first  the  pupil  should  not  be  allowed  to  pro- 
long the  sound  in  any  of  these  exercises  beyond  the  time  that 
•would  naturally  be  occupied  in  an  ordinary  interrogative  slide. 
After  practice,  however,  pupils  should  be  drilled  in  sustained 
tones,  with  instrumental  accompaniment  if  possible,  until  a  fair 
amount  of  sustaining  power  is  acquired.  Watch  carefully  : 
these  exercises  that  the  tone  starts  full  and  free  and  with  pre- 
cisely the  same  quality  and  volume  at  the  beginning  as  during 
the  continuation.  See  that  the  pupil  conquers  the  tendency  to 
shut  the  throat  just  before  beginning.  Do  not  work  for  noise 
but  for  good  quality  of  tone.  The  tone  should  not  be  pushed 
out,  but  should  seem  almost  to  be  drawn  in  from  without.  See 
that  all  activity  is  confined  to  the  breathing-apparatus  ;  it  is  the 
breath  which  governs  the  tone.  After  a  time,  practise  with 
crescendo,  diminuendo  and  swell-effects. 


LESSON  XI. 


Articulation. 


If  we  completely  relax  the  jaw,  lips,  and 
opening  the  mouth  just  wide  enough  to  let  out  tin* 
sound,  and  then  vocali/e  in  the  most  indifferent  man- 
ner possible,  we  product-  something  between  a  grunt 
and  the  sound  of  //  in  hurt.  The  sound  is  indefinite — 
inarticulate.  Very  likely  the  earliest  attempt^  at 
speech  were  little  better  than  a  series  of  such  vague 
sounds,  more  or  less  modified  by  different  positions  of 
the  jaw  and  tongue.  As  the  race  progressed  in  lan- 
guage-making these  sounds  became  more  clearly  de- 
fined and  further  separated  from  one  another;  more 
delicate  variations  were  introduced,  the  sounds  weiv 
combined  in  various  ways,  until,  at  last,  man  possessed 
articulate  langu.i 

Articulation  has  been  defined  as  "the  correct  and 
elegant  delivery  of  the  elementary  sounds  in  sylla- 
bles and  words." 

These  are  classified  as  vowels  and  consonants. 

The  VOWF.I.S  are  the  foundation-sounds  of  the  lan- 
guage. They  are  formed  by  various  positions  of  the 
tongue  and  lips,  which  modify  but  do  not  obstruct  the 


ARTICULATION.  37 

flow  of  sound.  Ah  (a  in  father},  cl,  e,  o,  do  are  exam- 
ples. 

The  CONSONANTS  are  formed  by  positions  of  the 
tongue,  teeth,  or  lips,  which,  for  the  time,  interfere  with 
the  vowel-sound.  For  example,  if  you  press  the  tip 
of  the  tongue  against  the  upper  teeth,  as  if  to  pro- 
nounce t  or  d,  you  will  find  it  impossible  to  give  a 
vowel-sound,  a,  for  instance.  If,  now,  you  allow  the 
tongue  to  fall  quickly  back  into  its  natural  position 
just  as  you  are  about  to  say  «,  you  will  get  the  combi- 
nation td  or  dti.  It  is  this  "  recoil  "  of  the  tongue,  as 
we  call  it,  that  makes  the  consonant  distinct. 

We  begin  our  studies  in  articulation  with  the  vow- 
»  Is.  The  tone  as  it  comes  from  the  larynx  is  molded 
into  the  various  vowel-sounds  by  the  different  posi- 
tions of  the  tongue  and  lips.  The  jaw  always  remains 
relaxed,  although  in  some  vowels  it  is  not  so  wide 
open  as  in  others. 

We  have  already  practised  some  of  the  vowel-sounds ; 
we  shall  now,  however,  take  them  up  in  regular  order, 
beginning  with  e,  as  in  eel. 

1.  E  is  made  with  the  forward  part  of  the  tongue 
near  the  roof  of  the  mouth.  The  tongue  is  higher  and 
the  jaws  are  nearer  together  in  forming  this  vowel  than 
in  any  other.  For  this  reason  it  is  one  of  the  most  diffi- 
cult sounds  to  give  properly,  that  is,  with  good  tone, 
since  the  tendency  in  most  of  us  is  to  cramp  the  throat 
whenever  the  tongue  is  active.  Ah  is  one  of  the  easi- 
est of  vowel-sounds,  and  you  will  find  it  useful  to 


38  TWELFTH  LJ 

make  first  the  sound  il  or  ~>  and  in  the  same  breath 
change  to  e,  keeping  the  quality  of  voice  tin-  same  and 
Dot  allowing  the  back  of  the  tongue  to  rise.  In  this 
vowel,  as  we  Lave  said,  the  jaw  cannot  open  so  widely 
as  in  the  more  open  sounds.  Let  it  take  its  natural 
position,  without  cramping  it. 

"What  is  said  here  with  regard  to  the  throat,  l>ark  of 
tongue  and  jaw,  refer>  t«»  otlier  \..\\vls  as  well,  and  is 
to  be  under>toi.d  without  further  repetition. 

2.  If  the  middle  pf  the  tongue  l»e  v.-r\    ^li-htly  de- 

pi-.  BSed  while  proimuiii-in^  »",  the  sound  heroines  that 
of  short  /.  as  in  "///.  This  sound  is  hard  to  >iistain  at 
first,  as  il  tends  t«»  gn  liark  to  Ion-  >,  TractiM.'  until 
this  teiidi-iu-v  is  overcome. 


LESSON  XII. 

Flexibility. 


Everyone  who  would  speak  or  recite  with  good 
etVect  must  have  not  merely  mental  capacity,  but  com- 
mand over  the  b«»dy  and  the  voice,  the  instruments 
through  which  he  expresses  himself. 

Awkwardness,  a  weak  or  disagreeable  voice,  or  in- 
distinct articulation  may  spoil  the  effect  of  the  most 
brilliant  composition  ;  while  a  graceful  and  clear  de- 
livery will  often  make  a  very  commonplace  subject 
interesting. 


FLEXIBILITY.  39 

Faults  in  delivery  are  caused  either  by  wrong  con- 
ditions of  the  joints  and  muscles  that  are  used  in  ges- 
ture and  speech,  thereby  preventing  the  proper  action 
of  the  parts,  or  by  lack  of  control  over  the  muscles, 
so  that  we  use  the  wrong  set  or  do  not  use  the  right 
set  properly. 

It  is  evident  that  if  we  wish  to  gain  control  of  the 
body  we  must  first  get  rid  of  wrong  actions  and  con- 
ditions ;  in  other  words,  before  we  begin  to  strengthen 
the  parts,  we  must  render  them  flexible  and  pliable. 
It  is  of  no  use  to  practise  opening  the  hand,  for  in- 
stance, so  long  as  the  muscles  which  shut  the  hand 
refuse  to  relax  and  allow  the  other  set  to  act  freely ; 
we  shall  only  be  straining  the  delicate  tendons  and 
rendering  the  action  more  awkward  than  before. 
Therefore  we  must  first  learn  to  relax  ;  afterward  we 
shall  study  to  get  control  of  the  parts. 

EXERCISE  I. 
Hands  and  Fingers. 

Lift  the  forearm  a  little  in  front  of  the  body,  with 
the  hand  and  fingers  hanging  down  in  a  lifeless  man- 
ner.    Hold  the  arm  in  this  position  until 
the  hand  has  become  perfectly  passsive 
and  you  can  feel  that  its  own  weight  is 
drawing  it  downward.     This  means  that 
the  muscles  that  hold  the  hand  and  fingers 
in  position  have  completely  relaxed.    See        FIG.  4. 
that  the  fingers  hang  as  loosely  as  the  fringe  on  a  shawl. 


4o  T}\/;L /•'/'//  L 

When  you  have  attained  tliis  state  of  perfect  pliabil- 
ity, which  may  require  many  days  <>r  even  weeks 
of  persevering  practice,  shake  tin-  hand  gently  by 
moviiig  the  arm  up  and  down,  then  sideways,  and  ri- 
nally  in  a  circle.  Be  very  can-fill  that  the  hand  and 
fingers  remain  passive  and  are  Dimply  shaken  about 
by  the  arm. 

Practise  this  exeivise  in  various  p<»>itions,  >.<\,  palm 
up,  palm  down,  and  with  the  hand  In-ld  <-dgewise,  until 
you  have  gained  the  ability  t<>  }»ut  the  hand  in  a  pas- 
sive state  whenever  and  wherever  you  wish. 

Kxr.i;ci>r.  IT. 

ir, 

Practice  the  >ame  moveim-nts  with  tin- arm>  >tn-tcht-d 


I    "RRF.rT. 


INCORRECT.      FlG.  5. 

out  at  the  sides  and  in  front,  with  one  arm  at  a  time 
at  first,  then  with  both  together.  Be  careful  to  hold 
the  arm  straight,  without  relaxing  at  the  elbow,  and 
to  move  the  arm  from  the  shoulder. 


LESSON  XIII. 


Minor  Inflections. 


The  rising  and  falling  inflections  used  in  ordinary 
discourse  are  termed  major  inflections.  We  have 
also  minor  inflections,  used  in  expressions  of  pity, 
weakness,  or  horror.  Good  examples  of  the  minor  in- 
flection are  the  cries  "Help!"  "  Mercy!"  moans,  and 
similar  expressions  of  physical  Buffering ;  exclamations 
of  a  dejected  character  like  "  Oh,  dear  me  !"  "Alas  !" 
and  expressions  of  pity  such  as,  "poor  fellow,"  "  poor 
doggie,"  etc. 

Minor  inflections  may  be  either  rising  or  falling. 

Oh  dear,  must  I  go  to  school  ? 
Oh  dear,  I  must  go  to  school  ! 

In  pathetic  passages,  readers  are  apt  to  overdo  the 
minor  inflections,  so  that  the  reading  becomes  little 
better  than  a  whine.  Avoid  this  ;  remember  that  the 
use  of  the  minor  slide  always  indicates  a  degree  of 
weakness  in  the  speaker,  and  that  it  is  appropriate 
only  when  we  wish  to  convey  that  particular  impres- 
sion. 

41 


77/77?  riTAT//   L: 

XPLEB. 

<>:     :.  :>     ••; 

v  -•  :  -    :      -  -  .•  •::•->-  ••_• 

80  good,  BO  aoble,  and  m>  tme  a  ••ilr r? 


6  my  son  Absalom !  mj  son,  my  mm 
Would  God  I  had  died  for  tbce,  O  Absalom,  my  son,  my  am3 


Position. - 

rjasK  VH. 
Transition  <f  Potae. 

Standing  with  one  foot  well  in  advance  of  the  other, 
the  arms  hanging  loosely  at  the  sides,  change  the 
weight  forward  and  back,  always  being  careful  to  be- 
gin the  movement  with  the  hip,  and  to  keep  the  shoal- 
is  quiet  as  possi 

Practis  ercise  with  the  feet  at  various  angles, 

until  you  accustom  yourself  to  a  graceful  movement  of 
the  body  in  any  direction. 


LESSON  XIV. 


Flexibility.— Continued. 


EXERCISE  III. 
For  Muscles  of  the  Neck  and  Jaw. 

(a)  Holding  the  liead  erect,  close  the  eyes  as  if  about 
to  go  to  sleep.  Let  the  jaw  fall  lifelessly.  Try  to  feel 
and  look  as  stupid  and  lazy  as  possible.  Now  let  the 
head  drop  forward  as  if  the 
strength  were  gone  from  the 
muscles  of  the  neck.  After  a 
moment,  during  which  you 
should  try  to  feel,  if  possible, 
still  more  lifeless  about  the 
head,  neck,, and  shoulders,  raise 
the  head  slowly,  with  the  jaw  FIG.  6. 

dropped  as  before  and  carry  it  back  as  far  as  possible. 
Best  in  this  attitude  for  a  moment,  then  repeat  the 
exercise. 

The  body  should  assist  the  movements  of  the  head 
by  bending  forward  a  little  for  the  first  position  and 
back  for  the  second,  but  it  must  not  relax.  The  exer- 
cise is  for  the  head  and  neck  and  for  such  muscles  as 

43 


44 


connect  these  parts  with  tho  shoulders.  \v.-  must 
learn  to  control  each  part  of  the  body  separately  before 
we  can  hope  to  gain  command  of  the  whole. 

(b)  Sway  the   head    from  side  to  side  in  the  same 
manner  as  above  described. 

(c)  Circle  the  head  :  that  is,  let  it  go  from  front  to 
side,  then    back,  then  to  the  other  side,    and   tinally 
return  to  the  front, — making  the  movement  continu- 
ous but  with  the  muscles  a^  passive  as  possible. 

EXERCISE  IV. 

'/////  <>f  the  Legs. 

(a)  Stand  with  one  foot  on  tin-  edge  of  a  platform  or 

low  bench,  so  that  the  free  leg  lianas  over  the  edge. 

Be  careful  to  keep  well  poised.  Let  the  free  leg  hang 

until  you  feel  all  the 
muscles  about  the  hip 
relax  and  the  limb  be- 
COmea  a  dead  weight. 
]>••  sure  that  the  knee 
and  foot  ajso  are  en- 
tirelv  pasaiye,  The 
body  should  be  erect 
upon  the  strong  foot 
in  a  position  like  that 
of  Respect,  so  that  the 
Fl°  7.  hip  may  be  as  far  as 

possible  over  the  free  side  in  order  to  give  plenty  of 

room  for  the  free  leg. 


FLEXIBILITY.  45 

(ft)  Standing  as  before,  lift  the  free  leg  in  front,  with 
the  knee  and  foot  still  relaxed,  and  then  allow  it  to  fall 
back  lifelessly.  If  the  muscles  of  the  free  leg  are  per- 
fectly flexible,  the  leg  will  swing  back  and  forth  for  a 
considerable  time,  like  a  pendulum.  Let  it  come  to 
rest  of  its  own  accord. 

If  this  exercise  is  too  difficult  at  first,  practise  lift- 
ing and  dropping  the  leg  while  standing  on  the  floor. 
Of  course,  the  leg  cannot  swing  to  and  fro  but  must 
come  to  rest  at  once.  Here  the  poise  of  the  body 
should  be  as  in  the  Speaker's  Position. 

The  Voxels.— Continued. 

3.  A,  as  in  die.     This  vowel  has  one  peculiarity  that 
deserves  attention.     If  we  speak  a  word  like  pay  or 
may,  we  notice  that  the  final  sound  is  not  that  of  a 
at  all,  but  exactly  that  of  long  e,  thus,  pde,  mde.    You 
would  find  it  difficult  to  pronounce  either  of  these 
words  and  omit  this  vanishing  sound  or  "glide,"  as  it 
is  sometimes  called.     The  vanish  or  glide  of  the  vowel 
a  is-  one   characteristic  of   a   refined   pronunciation. 
Before  the  vowel  e,  however,  the  vanish  vanishes  en- 
tirely, e.g.,  d-erial.     Be  careful  not  to  overdo  this  pe- 
culiarity ;  on  the  other  hand,  do  not  clip  the  vowel  so 
short  that  the  effect  of  the  glide  is  lost. 

4.  Ad  before  r,  as  in  care,  fair,  air ;  also  heard  in 
ivkere,  ne'er,  Aaron,  icear,  and  similar  words. 

5.  E,  short,  as  in  ell,  sett,  tell ;  also  many,  bury,  said, 
leopard,  guess. 


46  ForuTi:i:^'ru  LESSON. 

6.  A,  short,  as  in  an,  can,  _/////  :  also  /*////»/,  /•»////*>/•//, 
etc. 

Notice  that  we  are  studying  the  A-O//W.V  not  merely 
the  letters,  and  that  in  English  one  letter  lias  <»ft»-n 
many  v«-ry  different  sounds,  and  one  sound  is  often 
represented  in  many  different  ways.  E,  for  instance,  is 
exactly  like  i  in /»///////*•,  »///  in  </>/"//,  "'  h-  '/"  • 
people,  /is  heard  in  prf-fty.  n-,,,,,.  '/.  ^| 

is  heard  in  f/<  For  that  reason,  we  find 

it  most  convenient  to  call  the  sounds  l>y  their  numbers 
rather  than  by  their  alphabetical  names,  thus,  1st  or 
2d  sound,  etc. 

To  TIIK  TKACHKK:— These  sounds  follow  r-arh  other  in  the  <>rd.T 
laid  down  by  Prof.  A.  Melville  Hell.  From  him  I  Imvc  also  taken 
many  of  the  illustrations.  While  no  one  jmpil  is  deficient  in  all 
or  many  of  these  sounds,  I  h;ive  rarely  found  in  my  own  experience 
a  pupil  who  \vas  perfect  in  every  v«»wel.  \Ve  have  the  testimony  of 
no  less  a  celebrity  than  Wendell  Phillips  to  the  practical  valui-  of 
careful  drill  in  the  elements  <,f  articulation.  Occasional  mistakes 
may  be  forgiven  ;  but  habitual  disregard  of  the  fundamentals  of 
good  pronunciation  is  inexcusable.  1  have  not  at  tempted  to  ar- 
range the  sounds  in  the  order  of  their  difficulty  for  the  reason  that 
no  arrangement  could  be  made  that  would  answer  for  all  or  even  a 
majority  of  our  pupils.  Special  e\eici«-e>  >ln.i-.:!d  !><•  as<iiri:Ml  to 
individuals  who  are  greatly  deficient.  Such  maybe  found  in  the 
works  of  Hell,  Monroe,  and  others,  and  in  various  treatises  on  voice- 
culture,  stammering,  etc. 


LESSON  XV. 


Emphasis.— Continued. 


RULES  FOR  ANALYSIS. 

I. — The  emphatic  word  is  the  word  that  completes 
the  new  idea  or  picture. 

EXAMPLES. 

I  watch  the  mowers  as  they  go. 

Henceforth  let  me  not  hear  you-speak  of  Mortimer. 

— Shakespeare. 

[Mortimer  lias  already  been  spoken  of  in  several 
preceding  speeches  (Henry  IV.,  part  1.),  otherwise  the 
emphasis  would  fall  on  the  name.  See  next  rule.] 

The  clustered  spires  of  Frederick  stand. 

—  Whittier. 

II.— A  word  once  emphasized  should  not  receive 
emphasis  when  repeated,  unless  it  is  repeated  for 
intensity,  or  used  with  a  new  meaning. 

EXAMPLES. 

That  I  have  ta'eii  away  this  old  man's  daughter, 
It  is  most  true  ;  true,  I  have  married  her,  [not  "  true  I  have 
married  her/' — the  new  idea  is  "  married."] 

•^-Shakespeare, 

47 


48  FIFTEEN  Til   L  E880N. 

MARULLUS.     But    what    trade    art    tbou  ?      Answer    me    dm  ctty. 
[straightforwardly.] 

2d  CITIZEN.     A  trade,  sir,  that  I  hope  I  may  use  with  a  *ife  con- 
science;  which  is.  indeed,  sir,  a  i/it/ider  of  bad  soles. 
MAIU'LLUS.     What  trm.J<\  then  knave?       [emphasis  for  intensity.] 

thou  naughty  kim  re.  what  ii;.\i>i.r 

2d  CITIZEN.     Nay,  I  Ixxod,  \<>u,  sir,  be  not  ont  with  im-  ;y<-t  if  you 
6«  out,  sir,  I  can  mend  you. 

— SI'-- 

A7«?r*ea  HORSK.  [inii-nsity]  my  KIN«.D<>M    fora  liorse. 

— Shakespeare. 

I  never  would  lay  down  my  arms— ///  r,r.  M:\KK.  NKVER. 

III.— No  word  that  can  be  omitted  and  still  leave 
the  meaning  of  the  phrase  clear,  is  emphatic,  unless 
the  word  is  used  for  intensity.  With  this  exception, 
that  word  is  most  emphatic,  which,  when  left  out, 
would  most  completely  destroy  the  meaning  of  the 
phrase  or  sentence. 

MM   I  9, 

True,  I  have  married  h< T. 

Here  it  is  evident  that  the  <>nii»i"ii  <>f  "married" 
would  utterly  oliscmv  the  meaning.  \Vo  conld  sav, 
"True,  I  have  married,''  and  the  meaning  would  lu> 
less  obscure.  "  I  liave  married  her,"  would  not 
change  the  meaning  in  the  least;  "true — married 
her,"  while  not  graceful  nor  good  Knglish,  would  still 
be  understood  in  connection  with  the  preceding  por- 
tions of  the  speech, 


EMPHASIS.  49 

I  shall  have  nothing  at  all. 

Iii  this  example  the  word  that  cannot  be  omitted  is 
certainly  "  nothing ;"  yet  we  naturally  throw  the 
emphasis  upon  "  all,"  a  word  that  evidently  is  not 
necessary  to  the  phrase,  for,  "  I  shall  have  nothing," 
would  express  the  meaning  quite  as  clearly.  The 
reason  for  this  apparent  violation  of  our  rule  is  that 
the  expression  "at  all"  is  inserted  especially  for 
emphasis.  Like  "  none  whatever,"  it  makes  the  idea 
more  vivid.  A  good  writer  or  speaker  will  use  these 
expressions  sparingly  ;  they  are  like  other  extreme 
means  for  emphasis,  allowable  only  when  simpler  ex- 
pressions fail. 

NOTE. — We  sometimes  find  two  or  more  words  com- 
bined to  express  what  one  cannot  indicate  fully. 
"  Mender-of-bad-soles  "  is  an  example.  "  Nothing-at- 
all "  might  be  considered  as  a  similar  combination. 
These  groups  are  called  "  oratorical  words,"  and  are 
read  as  if  they  were  compound  words  with  the  accent 
falling  on  the  accented  syllable  of  the  last  word,  like 
"nevertheless,"  which  is  really  a  group  of  three 
words. 


LESSON  XVI. 


For  Independence  of  the   Legs. 


n  I. 

Standing  in  tin-   Speak-  -iti<>n,  carry  the  free 

foot  forward  as  far  ax  j..  .--il.lc,  that  is,  until  the  t«e 
can  barelv  touch  tin-  tln«.r  ;  then  carry  tin-  font  back 
in  the  same  way.  Be  careful  that  the  body  dors  not 
t\\ist  around,  nor  ni<»\«-  f«»r\\ard  and  hack  with  the 
leg.  Have  110  sense  of  effort  anywhere. 

Exi.i;ri>r.   II. 

Carry  the  free  foot  out  at  the  side,  then  across  the 
body  to  the  opposite  side  in  the  same  manner  as  in 
Exercise  I. 

KxKKi'IsK     III. 

Describe  as  great  a  part  of  a  circle  as  j»..ssil>l»-  with 
the  free  foot  around  the  strong  foot,  the  body  remain- 
ing perfectly  stationary. 

Remember  that  the  proper  position  of  the  body 
must  be  maintained  without  cramping  the  muscles  or 
stiffening  the  joints,  which  would  defeat  the  object  of 


THE    VOWELS.  51 

all  our  exercises,  which  is  to  do  everything  as  easily 
and  gracefully  as  possible.  Therefore,  begin  with 
slow  movements  and  carry  the  foot  to  a  moderate 
distance  in  each  direction,  increasing  gradually  both 
the  rapidity  and  the  extent  of  the  action. 

The  Vowels.—  Continued. 

7.  A  obscure.     This  is  the  sound  that  is  heard  in 
unaccented  syllables  as,  for  instance,  arrival,  avenge, 
abominable. 

8.  A    intermediate.     This    sound  is   between  the 
short,  somewhat  flat  sound  of  a  in  an  or  at,  and  the 
so-called  "  Italian  "    sound  of  a  in  ah,  father.     Ex- 
amples :     ask,  task,  fast,  not  ask,  task,  fast. 

9.  A  in  father,  mart,  ah,  part  j  also  heard  in  haunt, 
hearty,  guardian. 

Carefully    distinguish    between    sounds    8  and   9. 
Practise  all  vocal  exercises  and  inflections  with  each 
sound  until  it  is  always  at  command. 
Speech  Gamut. 


a  9? 

a  , 

a  " 


a?  av  78 

7 


rt 

a  a  2  67g 

'a    Question       Answer    a  '1     Question        Answer    9 

The  voice  should  run  up  through  the  compass  of  at 
least  an  octave,  with  inflections  as  in  speech.  Let  the 
upward  movement  be  a  question,  and  speak  the  down- 
ward series  as  if  in  answer  to  it.  Breathe  between  the 
question  and  the  answer.  Practise  later  with  similar 
groups  in  circumflexes.  (See  Lesson  XXII.).  Use  all 
the  vowels  as  well  as  groups  of  words.  Enlarge  the 
gamut  as  you  gain  in  compass. 


LESSON  XVII. 


Rules  for  Emphasis.—  Continued. 


IV. — Emphasis  falls  on  the  accented  syllable  of 
the  word,  except  where  the  new  idea  is  contained  in 
an  unaccented  syllable. 

This  .should  1"  :••<!. 

V. — The  fewer  emphases  you  can  give  and  still 
leave  the  meaning  clear,  the  better. 

Emphasis  upon  unimportant  words  tends  to  confuse 
the  hearer.  Lead  directly  up  to  tlio  key-word  of  the 
phrase,  and  let  whatever  follows  take  its  own  course. 
Do  not  say,  for  instance,  in  the  example  quoted  be- 
low, "I  would  never  l<i>/  <l<»m  my  ARMS,"  which  would 
imply  that  you  might  do  a  great  many  other  things 
equally  as  bad,  possibly  lay  down  your  head;  the 
thought  is  "never." 

never 

lay 
would  down 

my 

arms. 


RULES  FOR  EMPHASIS.  53 

EXAMPLES. 

Keview  Lessons  III.,  YIL,  XIII,  XY. 

The  old  mayor  |  climbed  the  belfry  lower  \\     ) 
The  ringers' I  rang  by  two,  \  by  three;  III          fii  T 
Pull  ||  if  ye  never  pulled  before  \\  }  a 

Good  ringers,  |  pull  your  BEST,  |  quoth  he.  ||    R.  II. 
Play  uppe,  \  play  uppe,  I  O  Boston  bells  ||  R.  II.  Exception. 

Ply  all  your  changes  \\  all  your  swells,  \\    •  R.  III. 

Play  uppe  "  The  Brides  O/ENDERBY."  R.  III.    Note. 

— Jean  Ingelow. 

Analyze  also  for  inflection.  Would  the  old  mayor's 
appeal  be  major  or  minor,  and  why  ? 

The  kettle  began  it !  Don't  tell  me  what  Mrs.  Peerybingle  said. 
I  know  better.  (1)  Mrs.  Peerybingle  may  leave  it  on  record  to  the 
end  of  time  that  she  couldn't  say  which  of  them  began  it ;  but  I  say 
the  kettle  did.  (2)  I  ought  to  know,  I  hope  !  The  kettle  began 
it,  full  five  minutes  by  the  little  waxy-faced  Dutch  clock  in  the 
corner,  before  the  cricket  uttered  a  chirp.  (3)  Why,  I  am  not 
naturally  positive.  Every  one  knows  that  I  wouldn't  set  my  own 
opinion  against  the  opinion  of  Mrs.  Peerybingle,  unless  I  were  quite 
sure,  on  any  account  whatever.  Nothing  should  induce  me.  But 
this  is  a  question  of  fact.  And  the  fact  is  (4)  that  the  kettle  began 
it  at  least  five  minutes  before  the  cricket  gave  any  sign  of  being-in- 
existeuce.  (5)  Contradict  me,  and  I'll  say  ten.—  Dickens. 

This  is  an  example  of  colloquial  speech,  every- day 
conversation.  It  is  animated,  but  not  nearly  so  forci- 
ble as  the  preceding  selection,  which  requires,  here 
and  there,  very  powerful  emphasis.  The  style  of 
delivery  should  be  light  and  tripping,  with  much 
self-assertion.  We  are  continually  making  contrasts 
between  Mrs.  Peerybingle  and  the  writer  or  speaker, 
and  between  the  kettle  and  the  cricket.  Bring  out 
these  contrasts  with  great  earnestness. 


54  5  /:  VEN  TEEN  Tit 

(1)  Would   you    saj    "  /    know   better"  or    "I    know 
letter"*}     AVliy?     <See  llule  \". 

(2)  "/say  the  /.W/&-  did."     (See  Kule  H.       AVhy? 
Point  out  tli.    im>-t   emphatic  word  in   this  sen- 
tence, and  tell  why. 

(4)  "And  the/"/  »"  oi  "and  tin-  fart 

(5)  Tw..  words  an-  especially  emphatic  hen- :  which 
art-  they,  and  which  of  the  two  i>  the  more  emphatic, 
that  is,  the  more  important  V 

AVhich    is   the   most   emphatic   \\ord   in    the   entire 

selection,  ami  why? 

• 

You  cannot,  my  lords,  you  cannot  (1)  conqw-r  America.  What 
is  your  present  situation  thereV.'J.  AVc  <lo  not  know  the  worst, 
but  we  know  that  in  three  campaigns  we  have  done  nothing  and 
suffered  much.  You  may  swell  every  (  \p<  n>e,  accumulate  every 
assistance,  and  extend  your  traflic  to  the  >hambles  of  every  (Jermau 
.  Your  attempts  will  be  forever  vain  and  impotent,  doubly 
so,  indeed,  from  this  mercenary  aid  on  which  you  rely  ;  for  it  irri- 
tates to  an  incurable  resentment  the  minds  of  your  adversaries  to 
overrun  them  with  the  mercenary  sons  of  rapine  and  plunder, 
devoting  them  and  their  possessions  to  the  rapacity  of  hireling 
cruelty.  If  1  were  an  American,  as  I  am  an  Englishman,  while  a 
foreign  troop  was  lauded  in  my  country  1  would  never  lay  down 
iny  arms — never,  never,  never  ! — Lord  Ch'tOmm. 

(1)  This  is  the  preferred  emphasis.     It  brings  out 
more  strongly  the  feeling  that  conquest  is  impossible 
than  repetition  of  the  word  with  its  ordinary  accent 
could  do.      (See  Rule  IV. . 

(2)  "Present"    or    *  (   why   not   "tliere"! 
Make  this  a  study  iu  pause  as  well,  both  for  the  sep- 
aration of  ideas  and  for  emphasis, 


LESSON  XVIII. 


Flexibility.— Continued. 


EXERCISE  Y. 

The  Arms. 

Raise  the  arms  straight  above  the  head,  with  the 
palms  up.  Now  relax  them  so  that  they  fall  of  their 
own  weight.  If  the  arms  are  perfectly  flexible  and 
are  not  interfered  with  in  any  way,  they  will  swing  to 
and  fro,  pendulum-like,  and  come  to  rest  gradually. 
Practise  this  until  perfect  flexibility  is  gained,  but  do 
not  assist  the  movement  by  swinging  the  arms ;  they 
must  be  perfectly  passive.  If  the  clothing  or  the 
hips  interfere  with  the  arms,  practise  with  one  arm  at 
a  time,  leaning  the  body  over  at  the  side  sufficiently 
to  give  free  play  to  the  arm. 

EXERCISE  VI. 
The  Arms. 

Standing  in  the  Position  of  Respect,  but  with  the 
feet  a  few  inches  apart  to  give  greater  firmness,  turn 
the  body  on  the  ankles  as  far  as  possible  from  one 

55 


56 

side  to  the  other,  keeping  a  perfectly  upright  ]>»»si- 
tion.  Tins  movement  will  throw  the  anus  across  th»» 
body  and  back.  Practise  slowly  until  you  can  keep 
the  correct  position  of  the  body  ;  then  iucr 
rapidity  until  the  arms  are  flung  about  with  consider- 
able violence.  Keep  the  shoulders  relaxed. 

The  VOVJQ\S.— Continued. 

10.  E  or  i  before  r  as   in   verge,  firm,  qirl,  cirri:  : 
also  heard  in  earn,  cj 

It  is  very  difficult  to  describe  this  sound.  The  best 
that  can  be  said  is  that  it  is  not  so  heavy  as  the  fol- 
lowing sound  (A  in  nrgc),  yet  is  nearer  to  it  than  to 
the  9th  sound  (aJi).  We  generally  hoar  unrultivat»'d 
speakers  pronounce  clerk,  for  instance,  cl'irk,  while 
many  give  it  the  old-fashioned,  quaint  pronunciation 
of  dark,  which  prevails  in  England.  27  is  about  mid- 
way between  these  extremes.  Do  not  say  gyurl  nor 
gurl,  but  girl. 

11.  Uin  up  (short),  or  u  in  urn  (long  quantity  of  the 
same  sound),  urge ;  also  heard  in  world,  blood,  dungeon. 

12.  0  in  dull,  nvt,  often ;  also  in  l:n<>irlrl,jr.     Do  not 
say  an/ten  for  often,  daicg  for  dog,  Gaud  for  God. 


LESSON  XIX. 


Breathing-Exercises.— Continued. 

Beview  Lesson  IV. 

EXERCISE  IV. 

(1)  Place  the  hands  on  the  upper  part  of  the  chest 
in  front ;  (2)  slowly  inhale  until  the  chest  is  expanded 
fully ;  (3)  exhale  the  breath  slowly,  pressing  in  and 
down  upon  the  chest  with  the  hands  as  if  to  squeeze 
out  the  air.  Do  this  slowly  and  very  gently  at  first. 
(4)  Inhale  as  if  trying  to  press  out  the  hands  by  means 
of  the  breath.  Keep  the  shoulders  very  quiet. 

Repeat  the  exercise  several  times. 

EXERCISE  V. 

Place  the  hands  at  the  sides  under  the  armpits; 
breathe  in  the  same  way  as  in  Exercise  IV. 

EXERCISE  VI. 

Place  one  hand  in  front  and  the  other  at  the  back  ; 
expand,  etc.,  as  before. 

When  pupils  have  the  bad  habit  of  lifting  the  shoul- 
ders in  breathing,  they  should  practise 

57 


58  NINETEENTH  LESSON. 

EXERCISE  VII. 

Seated  in  a  chair,  grasp  the  rounds  at  the  sides  in 
such  a  way  that  the  arm  is  stretched  fully  and  it  is 
not  possible  for  the  shoulders  to  rise.  In  this  posi- 
tion, take  slow,  full  breaths,  increasing  tin.-  rapidity 
until  it  is  possible  to  take  a  very  short,  quick  breath 
without  moving  the  shoulders. 

To  THE  TEACHER: — Breathing-exercises  are  somt  time^  very  exhaust- 
ing to  delicate  pupils.  Kxenj-e  tin-  irnvitest  <-auti<m  \\  ith  them. 
and  remember  that  speedy  and  remarknMe  development  is  too 
often  gained  at  the  expense  of  vitality.  The  slowest  irrowth  is 
most  permanent. 

The  Vowels.— Continued. 

13.  A  ill  nil,  ctill ;   also  hoard  in  t<ni<il,t,  lm<nl,  ///o;/r////. 
A  curious  blunder  on  the  part  of  many  speakers  is 

to  say  "  sawr"  for  saw,  "  mawr"  for  maw,  while  at  the 
same  time  they  are  often  careful  to  say  "maw"  for 
more.  Make  a  careful  distinction  between  words  like 
carves  and  calves  without  overdoing  the  r  sound. 

14.  0  before  r  in  />'/•,  //•';/•/  also  in  sewer,  /H»HVI;  oar 
door,  four.     This  soiind  of  0  is  not  the  sound  of  a  ;  it 
is  nearer  to  long  o. 


LESSON  XX. 


The  Language  of  the  Body. 


PANTOMIMIC  EXPRESSION'. 

The  body,  as  well  as  the  voice,  is  a  means  of  ex- 
pression ;  and  its  language,  which  we  call  pantomime, 
is  even  more  effective  than  speech.  "  Actions  speak 
louder  than  words,"  says  the  proverb.  You  cannot 
say  "  I  love  you,"  and  persuade  anybody  that  you 
mean  it,  if  3* our  face  wears  an  ugly  scowl  or  your  fist 
threatens  mischief.  The  body  is  the  outward  mani- 
festation of  the  soul  within  and  faithfully  indicates 
every  emotion,  however  slight.  Nor  do  these  mani- 
festations entirely  disappear  with  the  emotion  that 
causes  them.  Every  disagreeable  or  evil  passion 
is  registered  upon  the  organism,  until  the  frequent 
scowl  or  sneer  becomes  a  permanent  disfigurement  of 
the  face,  or  the  slouchy,  careless  carriage  of  the  body 
becomes  a  habit  and,  finally,  a  bearing,  which  is  a  true 
index  of  the  lazy  or  careless  spirit  within.  On  the 
other  hand,  a  happy  disposition  or  a  truly  brave  spirit 
shows  itself  in  the  open  countenance  or  manly  bear- 
ing. 

The  attitude  or  action  of  the  body  has  a  marked 

59 


60  TWENTIETH  LESSON. 

effect  upon  the  voice.  If  you  sing  the  syllable  all  with 
an  open,  relaxed  face  and  easy  position  and  then  with 
a  frown  and  the  fists  clinched,  you  will  notice  a  de- 
cided difference  in  the  quality  of  the  tone.  Not  only 
does  the  mind  help  to  form  the  body,  but  pantomimic 
expression  affects  the  mind  or  soul.  If  you  remain 
for  a  little  time  in  an  attitude  oxpivssive  of  deep  de- 
jection, you  will  feel,  in  a  greater  or  less  degree,  a  cor- 
responding mental  condition;  while  a  buoyant,  strong 
attitude  will  often  act  as  a  tonic  to  mind  as  well  as 
to  body. 

The  speaker  should  have  at  his  command  a  wide 
range  of  attitudes  and  actions  and  a  thorough  knowl- 
edge of  the  meaning  of  what  he  does,  as  well  as  of 
what  he  says.  Every  action  of  tin-  body  has  a  defi- 
nite meaning,  and  when  we  are  not  embarrassed  we 
express  ourselves  naturally  by  means  of  these  actions  ; 
but  on  coming  before  an  audience,  or  even  when  re- 
hearsing in  private,  we  become  self-conscious  and  con- 
strained. The  practice  of  exercises  in  pantomimic  ex- 
pression, however,  enables  us  to  feel  that  sense  of  re- 
pose and  freedom  that  always  comes  with  knowledge 
of  our  resources  and  perfect  command  of  them. 

We  cannot  take  up  in  this  little  book  all  the  actions 
and  attitudes,  but  will  endeavor  to  select  those  most 
useful  for  our  present  needs. 

We  will  consider  the  body,  for  convenience,  in  four 
divisions  :  The  trunk  or  torso,  as  artists  call  it,  the 
head,  the  legs,  and  the  arms. 


THE  LANGUAGE   Of1  THE  BODY.         Gl 

The  TORSO  is  the  centre  from  which  all  gestures  or 
actions  proceed.  It  must  maintain  the  dignity  of  the 
body,  and  does  not  condescend  to  great  variety  of  ac- 
tion. 

The  CHEST,  which  is  its  upper  part,  sympathizes  with 
the  condition  of  the  mind  to  a  great  extent,  however, 
expanding  with  strong  conditions  and  noble  emotions, 
and  contracting  or  becoming  passive  in  weak  or  ig- 
noble conditions. 

The  SHOULDERS  rise  more  or  less  under  the  influence 
of  emotion,  according  to  the  degree  of  its  strength. 
In  joy,  for  instance,  the  shoulders  are  elevated  consid- 
erably, while  in  great  fear  or  terror  they  rise  to  an  ex- 
treme height  and  come  forward  as  if  to  shield  the  head, 
which,  at  the  same  time,  is  drawn  down  between  them. 
In  despair  or  sorrow,  the  shoulders,  like  the  chest, 
relax.  In  defiance  or  anger,  they  are  drawn  back, 
while  the  chest  expands  as  if  to  resist  a  blow.  The 
shrug  of  the  shoulders,  if  made  slowly,  indicates  resig- 
nation— "  Still  have  I  borne  it  with  a  patient  shrug," 
says  old  Shylock.  When  made  quickly  it  carries  the 
opposite  meaning,  impatience  or  contempt.  Avoid 
shrugging  the  shoulders,  except  when  the  expression 
absolutely  requires  it.  Among  refined  people  the 
shrug  is  considered  vulgar  and  often  impertinent. 

The  HIPS  pushed  out  in  front  express  pomposity, 
vulgar  pride,  or  self-assertion  ;  drawn  back  they  indi- 
cate timidity,  deference,  humility.  The  proper  and 
normal  attitude  of  the  hips  is  just  midway  between 
these  extremes. 


LESSON  XXI. 


The  Torso. 
EXAMPLES. 

Chest  and 
I  tell  thee,  thou'rt  defied! 

And  dar'st  thou,  then,  to  beard  tin-  lion  in  liis  den, 
The  Douglas  in  his  hall  ?— Scott. 

Thou,  too,  sail  on,  O  ship  of  stale! 

Sail  on,  O  Union,  strong  and  great!— Longfellow. 

Half  choked  with  rage,  King  Robert  fiercely  said  : 

"  Open;  'tis  I,  the  king!     Art  thou  afraid?" 

The  frightened  sexton,  muttering  with  a  curse, 

"This  is  some  drunken  vagabond,  or  worse!" 

Turned  the  great  key  and  flung  the  portal  wide. — Longfellow. 

The  second  and  fourth  lines  of  this  last  selection  are 
examples  of  what  we  call  impersonation  ;  that  is,  speak- 
ing or  acting  not  in  our  own  buc  in  another  s  character. 
Here  you  impersonate  King  Eobert  and  afterward  the 
sexton.  Where,  as  in  this  example,  description  of  an 

action  or  condition  is  followed  by  its  representation, 

62 


THE   TORSO.  63 

as  iu  lines  1,  2,  3,  and  4,  we  save  our  action  for  the 
portion  where  we  impersonate.  When  the  lines  are 
descriptive  only,  however,  we  accompany  the  descrip- 
tion with  the  appropriate  action,  as  in  line  5,  where  it 
is  very  effective  to  imitate,  or  rather  suggest,  the  turn- 
ing of  the  huge  key  and  the  opening  of  the  heavy  door, 
while  we  describe  those  actions. 

He  stops — will  he  fall  ?  Lo  !  for  answer,  a  gleam  like  a  meteor's 
track, 

And,  hurled  on  the  stones  of  the  pavement,  the  red  brand  lies  shat- 
tered and  black.— Stansb ury. 

The  very  deep  did  rot :  O  Christ! 

That  ever  this  should  be  ! 
Yea,  slimy  things  did  crawl  with  legs 

Upon  the  slimy  sea..— Coleridge. 

How  do  you  do,  Cornelia  ?  I  heard  you  were  sick,  and  I  stopped 
in  to  cheer  you  up  a  little.  My  friends  often  say:  "It's  such  a  com- 
fort to  see  you,  Aunty  Doleful.  You  have  such  a  flow  of  conversa- 
tion, and  are  so  lively."  Besides,  I  said  to  myself,  as  I  came  up  the 
stairs:  "  Perhaps  it's  the  last  time  I'll  ever  see  Cornelia  Jane 
alive." — Dallas. 

NEPHEW.     A  merry  Christmas,  uncle  !  God  save  you  I 
SCROOGE.    Bah  !  humbug  ! — Dickens. 

The  Hips. 

I  rise — I  rise — with  unaffected  fear, 
(Louder  I  speak  louder  !  who  the  deuce  can  hear?) 
I  rise — I  said — with  undisguised  dismay ; 
Such  are  my  feelings  as  I  rise,  I  say  ! — Holmes, 


64  TWENTY-FIRST  LESSON. 

FALSTAFF.  I  have  pepper 'd  two  of  them;  two  I  am  sure  I  have 
paid,  two  rogues  in  buckram  suits.  Thou  kuowest  my  old  ward: 
here  I  lay,  and  thus  [taking  attitude  of  fencer]  I  bore  my  point. 

— Shakespeare. 

FALSTAFF.  Was  it  for  me  to  kill  the  heir-apparent;  should  I  turn 
upon  the  true  prince?  Why,  thou  knowest  I  am  as  valiant  as  llrr- 
cules.  But  beware  instinct;  the  lion  will  not  touch  the  true  prince. 
Instinct  is  a  great  matter;  I  was  a  coward  on  instinct.  I  shall 
think  the  better  of  myself  and  thee  during  my  life;  I  for  a  valiant 
lion,  and  thou  fora  tnie  prince  —Shakespeare. 

We  are  very  'umble  here  pperfield — Dicken* 

Work  out  the  proper  attitudes  for  these  examples 
by  referring  to  the  suggestions  in  Lesson  XX.  Of 
course,  there  are  many  actions  of  tin-  head,  feet,  and 
arms  that  would  be  necessity  to  their  full  expression. 
These,  however,  we  must  leave  for  the  future. 

Attitudes  in  many  cases  become  habits,  and  are 
then  called  bearings.  For  instance,  a  pompous  indi- 
vidual would  carry  the  hips  forward  ;  while  a  timid  or 
very  deferential  person  would  draw  the  hips  back. 
Aunty  Doleful  carries  her  body  in  quite  a  different 
manner  from  Marmion  or  Douglas,  even  when  moved 
by  no  particular  emotion,  because  the  doleful  condi- 
tion of  mind  has  become  a  habit  and  is  reflected  in 
the  outward  appearance.  AVe  have  three  sorts  of  pan- 
tomimic expression: 

Actions  or  gestures,  which  are  momentary. 

Attitudes  or  positions,  which  last  for  a  longer  or 
shorter  time,  but  disappear  when  the  emotion 
changes. 


INFLECTIONS.  65 

Bearings,  which  are  permanent  habits  of  carrying 
the  body  or  the  limbs,  and  indicate  peculiarities  of 
disposition  or  mind. 


LESSON  XXII. 


Inflections  .—Continued. 


Beside  the  simple  rising  and  falling  inflections  we 
have  various  combinations  of  rising  and  falling  which 
are  called  circumflex  inflections.  Circumflex  inflec- 
tions are  always  used  when  we  wish  to  say  something 
that  the  words  themselves  do  not  express.  We  often 
say,  "  oh,  yes"  or  "  oh,  no"  when  it  is  clear  that  we 
mean  just  the  opposite,  and  this  meaning  is  conveyed 
to  the  listener  by  a  circumflex  inflectidn.  Here  follow 
a  number  of  examples  for  practice.  Try  to  put  into 
each  the  meaning  that  is  indicated.  Suppose  in  re- 
ply to  a  question  like  "  will  you  do  it  ?"  the  answer 
"of  course"  is  given,  it  may  have  many  meanings,  as 
will  be  seen. 

EXAMPLES. 

"Of  course,"  with  simple  falling  inflection,  meaning  exactly  what 
it  says,  "I  will." 

"Of  course,"  with  surprise,  giving  " course"  with  much  higher 
pitch  and  a  slight  circumflex  turn,  meaning  "how  could  you  suppose 
I  would  do  anything  else  ?" 


66  TWENTY-SECOND  LESSON. 

"Of  course,"  with  contempt,  "why  do  you  ask  such  a  foolish 
question  ?" 

"Of  course,"  with  a  sigh,  "  I  suppose  I  must  " 

"Of  course,"  with  sarcasm  (double  circumflex),  meaning  "  that  is 
about  the  last  thing  I  would  do." 

The  question  may  be  asked  in  many  ways  also,  e.g.,  with  reproach, 
"will  you"  (of  whom  I  thought  better  things);  with  contempt, 
"you  are  a  likely  person  to  undertake  it,"  with  joy,  surprise,  etc. 

"Ah  !"    Calling  some  one  at  a  distance. 

"  Ah!"    Minor,  "  come  help  me." 

"Ah?"  Surprise,  with  rising  inflection,  "is  it  really  so?"  For 
information. 

"  Ah  !"  Surprise,  with  falling  inflection,  "  is  it  possible  !"  "well 
you  do  astonish  'em!" 

"  Ah  !"     Playfully.  "  now  I've  caught  you;"  "  I  see  through  you." 

"  Ah!"  Playfully,  but  with  rising  inflection,  "  did  you  think  you 
could  catch  me?" 

"Oh  !"     Distress,  pain. 

"  Oh  !"  Meaning  'that  relieves  my  mind;"  "  that  satisfies  me;" 
"  that  alter?  the  question." 

"Oh!"     "For  shame!" 

"Yes."    Simple  assertion,  falling  inflection. 

"Yes."  Indifferently,  "I  don't  care  particularly  about  it,  but  if 
you  wish  it  I  will." 

"  Yes."    "  I  suppose  I  must." 

"Yes."  Joyfully,  "I  am  glad  to;"  "of  course  I  will,  with 
pleasure." 

None  dared  withstand  him  to  his  face, 

But  one  sly  maiden  spoke  aside: 

"The  little  witch  is  evil-eyed  ! 

Her  mother  only  killed  a  cow, 

Or  witched  a  chdrn  or  dairy  pan; 

But  she,  forsooth,  must  charm  a  mSn. " — Whittier. 

Oh,  then,  I  see  Queen  Mab  hath  been  with  you.— Shakespeare. 


THE    VOWELS.  67 

Circumflex  inflections  are  either  rising  or  falling, 
that  is,  conclude  with  a  rising  or  a  falling  inflection. 

The  rising  inflections  start  from  a  high  pitch,  move 
downward  and  conclude  with  an  upward  turn, 

The  falling  inflections  start  from  below,  move  up- 
ward and  conclude  with  a  downward  turn, 

EXAMPLES, 

»ah.  Ah        /ah  ? 

Ah'      \ih!  W 

Practise  these  sounds  with  slight  separation  at  first 
and  then  connect  them  with  precisely  the  same 
melody. 

We  have  also  the  double  circumflex,  used  in  sar- 
casm, irony,  and  the  like. 

llnth  a  d5g  nionfcy?    Is  it  possible 

A  cur  cuui  lend  three  thousand  ducats?— Shakespeare. 

The  rising  or  falling  circumflex  inflections  are  gov- 
erned by^the  same  laws  as  the  simple  inflections  ;  that 
is,  the  rising  slides  inquire,  express  deference  to  the 
will  of  the  listener,  even  if  it  be  mock  deference,  indif- 
ference, indecision,  doubt,  or  timidity ;  the  falling  cir^ 
cumflexes  are  positive,  decided,  complete, 

The  Vowels. — Continued. 

15.  0  in  old,  beau,  throe. 

16.  U  in  pull,  full;  also  heard  in  wolf,  foot. 

17.  00  in  pool/  also  in  rude,  rule,  shoe,  you,  cruise. 


68  TWi:\  TT-SSCOND   LESSON. 

From  12  on,  we  notice  a  gradual  protrusion  of  the 
lips  until  in  17  we  reach  the  last  of  our  vowel-Bounds, 
where  the  lips  are  pursed  together  to  a  c-onsi«l<>ral>lt< 
extent.  Try  to  get  these  sounds  with  as  little  lip-ac- 
tion as  possible. 

To  THK  Ti:  \niKK  :— I  have  indicated  in  this  lesson  an  interesting 
and  valuable  I  • ;   tin-  pupi 

clamations  and    calls  like  "ohP  "oh   de.-ir  :"  "come  h 
"John  !"  "ah."  etc.     Have  them  also  try  i  the  ellip- 

tical meaning  of  impromptu  exclamations  by  the  teacher.  Many 
excellent  examples  may  be  found  in  Hell's  "  Principl.-sof  Klocu- 
tion."  I  do  not,  however,  ad  vise  the  use  of  marks  to  indicate  the 
direction  of  the  ini:  '••naliy  by  way  of  analogy, 

for  the  reason  that  they  tend  at  first  to  confuse  the  student,  and 
afterward  to  cause  him  to  rely  overmuch  upon  the  external, 
mechanical  form  of  the  slide  rather  than  UJMUI  the  inner,  mental 
condition  thai  should  prompt  it.  In  other  word-,  hi-  reading  is 
apt  to  lie  more  mechanical  than  if  he  discarded  all  mechanical 
aids  and  relied  solely  upon  his  art  instinct.  Airain.  it  is  impos- 
sible to  indie-ate  the'moie  minute  shades  of  inflection  that  belong 
to  truly  natu:  ifoo;  so  that,  after  all.  any  notation  falls 

short  o'f  absolute  fidelity  to  nature.     Sinceit  is  almost  imp«- 
to  indicate  to  the  .  approximately,  the  nicer  shades  of 

meaning,  and  since,  also,  the  average  Inexperienced  pupil  makes 
a  very  poor  connection  in  his  mind  between  a  mark  on  the  black- 
board ami  a  sound  in  his  ear,  and  therefore  is  quite  as  likely  to 
be  milled  as  helped  by  such  mark-,  it  is  better  to  rely  upon  the 
ear  and  the  intelligence  altogether.  The  meaning  of  an  ordi- 
nary inflection  is  patent  lo  any  intelligent  child,  and  when  once 
the  meaninir  of  an  inflection  is  understood,  it  i»  usually  coir. 
with  perfect  accuracy,  s-e  that  pupils  do  not  <  ramp'the  throat. 
Use  these  inflections  for  vocal  practice;  nothing  can  be  better 
for  flexibility  of  the  speaking-voice.  Make  all  exercises  in  in- 
flection mental. 


LESSON  XXIII. 


The   Legs. 


The  legs  are,  as  we  know,  the  agents  by  which  we 
advance  or  retreat  from  objects  about  us,  and  their 
attitudes  indicate  our  relations  with  surrounding  per- 
sons or  things. 

\\V  know  that  usually  the  body  should  rest  upon 
one  foot ;  sometimes,  however,  the  weight  is  equally 
upon  both  feet.  We  will  consider  both  conditions. 

Weight  on  One  Foot. 

We  go  towards  objects  that  attract  us  or  that  we 
wish  to  influence ;  we  draw  back  from  things  that 
displease  or  repel  us.  Hence,  sympathy,  attraction, 
animation,  joy,  and  all  expansive  feelings,  menace, 
attack,  and  pursuit,  call  for  attitudes  in  which  the 
weight  is  upon  the  advanced  foot,  that  is,  upon  the 
foot  that  is  supposed  to  be  nearest  the  object  of  the 
action. 

Antipathy,  repulsion,  melancholy,  indifference,  re- 
flection, concentration,  defence,  defiance,  etc.,  require 
the  opposite  attitude,  where  the  weight  is  upon  the 


70  T  WEXTY-  THIRD   /./:'»  <  O~. 

retired  foot,  that  farthest  from  the  object  exciting  the 
emotion. 

When  the  body  has  a  position  suitable  to  the  exer- 
cise of  great  effort,  as,  for  install* •••,  with  the  feet 
firmly  braced  to  ivsist  a  blow,  it  is  said  to  be  in  a 
strong  position.  "When  the  body  do,-s  not  offer  great 
•aiice,  as  when  the  feet  are  near  together,  or 
when  the  weight  is  entirely  on  one  foot  with  the  free 
leg  \v« -ak.  aa  in  the  Speaker's  Position,  the  attitude  is 
said  to  be  weak. 

Laics  of  Attitude. 

I.  — Conscious  strength  assumes  weak  positions; 
conscious  weakness  assumes  strong  positions. 

When  tin-  fe.-t  art-  wide  apart,  the  bod\  is  said  to 
have  a  strong  or  broad  ba>«-,  \\hriithefeet  are  near 

ther,  a  weak  ba- 
ll.—In  proportion  to  the  degree  of  energy  will  be 
the  strength  of  the  base. 

ILLfSTllATI' 

LAW  I. —  A  speaker  mming  before  an  audience  in  a 
timid  frame  of  mind  would  naturally  try  to  hide  his 
condition  :  and,  in  so  doing,  would  stand  in  a  \«  ry 
strong  attitude,  as  much  as  to  say  :  "  I  am  not 
afraid  ;"  while  one  accustomed  to  public  appearance, 
and  fully  confident  of  his  control  over  his  body,  would 
assume  the  most  easy  and  graceful  position  at  his 
command.  A  blustering  bully  would  plant  his  legs 
wide  apart,  and,  in  other  ways  which  we  have  mai  ke«l 


THE  LEGS.  n 

out  elsewhere,  indicate  to  an  experienced  observer 
that  lie  was  assuming  a  bravery  that  he  really  did  not 
possess  ;  while  his  antagonist,  if  cool  and  collected, 
would  stand  in  an  attitude  of  comparative  weakness, 
with  weight  resting  lightly  on  one  foot. 

LAW  II. — The  attitude  of  respect  is  unemotional ; 
but  if  you  were  in  that  attitude,  and  suddenly  saw 
something  that  interested  you,  you  would  advance, 
and,  if  very  much  excited,  might  fairly  spring  toward 
it,  So  \oiir  attitude  when  standing  still  would  ex- 
9  ^tiong  excitement,  just  in  proportion  to  its  sim- 
ilarity t«>  the  same  expression  of  the  legs  and  feet 
when  in  motion. 

Weight  on  Both  Feet. 

With  the  feet  as  in  walking,  expresses  suspense,  un- 
certainty, as  if  you  did  not  know  whether  to  advance 
or  retreat.  With  the  feet  wide  apart  sideways,  ex- 
presses vulgar  ease,  familiarity,  pomposity,  arrogance. 
With  the  feet  near  together,  expresses  timidity,  re- 
spect, subordination,  weakness. 

Sitting. 

Under  like  conditions,  the  attitudes  of  the  feet  when 
sitting  are  the  same  as  in  standing.  For  instance,  in 
animated  attention  the  feet  would  be  well  apart,  one 
foot  being  under  the  chair,  perhaps,  as  if  you  were 
about  to  spring  from  your  seat,  which  is  just  what 
you  would  do  if  your  excitement  became  very  great. 


LESSON  XXIV. 


Articulation. 


. ('nnfi- 

We  have  now  p>ne  through  the  list  of  simple  vowol- 
sounds  ;  all  <  >tli«-r  v<  »\\  el  -  Eubinatioilfl  of  ><»me  of 

these.      /  i-  '.'   1    M»'inlr<l,  thus.  </A   c  :   ot0  in 
17;  oi  in  o/7  is  13-17;  /">  is   1-17,  c\c«-}>t   \\ln-ii  it  fol- 
lows  /•,  when  it   has   thr   sound    17   aldic,  as    in    rnlf, 
true.     Careless  sj.rai  D  -,i\    "floot*1  \\ln-u  tlu-y 

mean  flute,  "dooty"  for  ///////,  and  BO  «>n.  No  one, 
howev.  •!-,  Bays  "poo*1  I'm-  y/' /'•,  nor  "  foo "  for  /'/', 
though  there  is  equally  Lr<><>d  r«-a><>n  I'm-  such  pronun- 
ciation. One  of  the  marks  of  a  well-educated  person 
is  Lis  careful  enunciation  of  this  much-abused  TO  we)  ". 

"When  a  vowel  occurs  in  an  unaccented  syllable,  it 
is  not  pronounced  with  such  rare  and  exactness  as 
when  it  receives  the  accent;  for  instance,  ue  say 
sy1'-1a-l)'tt  not  ayl' -1  tl -1  >•' 1 .  The  vowels  in  the  second 
and  third  syllables  here  are  said  to  be  obscure,  bemuse 
it  is  not  always  easy  to  determine  which  sound  is 

72 


ARTK  ri.ATIoX.  73 

given.  If  our  example  were  spelt  "  syllibul,"  it  would 
make  scarcely  a  perceptible  difference  in  the  sound  of 
the  word.  These  obscure  sounds  are  generally  indi- 
cated in  dictionaries  by  a  single  dot  under  the  vowel. 

The  only  rule  for  the  pronunciation  of  obscure 
vowels  is  to  make  the  sound  as  nearly  like  the  full 
sound  as  is  possible  without  seeming  stilted. 

The  articles,  personal  pronouns,  conjunctions,  and 
short  prepositions  like  of,  to,  from,  and /or,  are  always 
obscure,  except  when  they  are  emphatic.  Thus,  when 
i  \ ,  u  give  it  to  me,"  we  give  the  e  in  me  its  obscure 
sound  (2d  vowel),  like  i  in  pin;  but  when  we  say 
"  give  it  to  me,"  we  give  it  its  long  sound  (1st  vowel). 
Nor  do  we  say  to  (too),  but  almost  tu  (llth  vowel). 
Treat  such  words,  as  regards  pronunciation,  exactly 
like  the  unaccented  syllables  in  words.  To  be  over 
exact  and  pedantic  would  often  alter  the  meaning  of 
the  sentence,  as  in  the  illustration  above. 

The  Consonants. 

The  consonants  are  formed  by  the  action  of  the 
tongue,  palate,  and  lips.  The  following  consonants 
are  made  by  compressing  the  lips  and  then  separating 
them  by  a  quick  recoil  and  relaxation,  b,  p.  Do  not 
give  the  consonants  their  name-sounds  in  practising, 
thus :  be,  pe. 

Combine  these  and  all  following  consonants  with 
each  of  the  seventeen  vowel-sounds. 


To  THE  TEACHER  :— Rhythmic  -  like  tho  following  will  he 

found  useful  in  attaining  tlexibility   and  accuracy  in   UK-  u-«-  i.f 
the  agents  of  articulation  : 


In  common  time  :     / 

three  times,  sustaining  the  last  I»i  a  full  heat,  making  a 
sion  of  three  triplets  and  a  quarter  note;  the  last  time 
the  final  ba  aa  long  as  possible. 

44  4 

In  common  time:     / 

if  there   were  three    group-  .  I,  and    a  quarter 

note.     Distinguish   carefully   between    BUI  .  .f  /»/  and  of 

iib,  jki  and  <H>.     Carele»   practice  will    roult  in  something  like 
<-tc.     This  caution  applie-s  to  many  other  com- 
binations. 


LESSON  XXV. 


The   Head. 


The  lioad  lias  gestures  and  attitudes.  The  gestures 
of  the  head  are  law  l»ut  full  <>f  m.-aning.  The  com- 
mon ones  are  the  nod,  meaning  yes  ;  tho  shako  of  the 
head,  meaning  no  ;  and  a  contemptuous  lling  of  the 
Lead  to  one  side,  which  latter,  lik<-  a  shrug  of  con- 
tempt, which  it  usually  accompanies,  N  to  !••  -avoided, 
except  when  absolutely  necessary  to  tin-  i-\j>ivssion. 

The  attitudes  or  positions  of  the  head  are  more 
numerous  and  important  than  are  its  gestures,  AVe 
find  nine  fundamental  positions  of  the  head. 


THE  HEAD. 


75 


I.—  The  Head  Erect.    (Fig.  8.) 

Tliis  is  the  attitude  of  simple  attention  without 
sympathy.  We  find  it  in  the  attitude  of 
Kespect  (Lesson  VI.).  As  a  bearing  or 
habit,  it  indicates  strong  vitality,  con- 
sciousness of  power.  Be  careful  that  the 
position  of  the  body,  either  in  sitting  or 
standing,  corresponds  to  that  of  the 
head,  so  far  as  your  knowledge  goes. 

FIG.  8, 

II.—  The  Head  Boived.     (Fig.  9.) 

This  indicates  one  of  two  conditions  :  Either  the 
mind  is  so  occupied  that  the  attention  is  drawn  away 
from  surrounding  things ;  or,  we  are  submitting  our- 
selves to  some  one  or  something  more  powerful  than 
i >ur>olves;  we  say,  for  instance,  /'man  must  bow  to 
the  inevitable." 

This,  then,  is  the  expression  of  reflection,  thought, 
mental  concentration,  or  of  respect  and 
submission.  As  a  bearing,  the  bowed 
head  might  indicate  a  thoughtful  char- 
acter, or  a  very  humble,  abject  person. 
What  would  be  the  difference  in  tha 
bearing  of  the  hips  and  chest  ? 

The  ordinary  bow  means  that  you 
o.  place  yourself  at  the  service  of  the 
person  you  salute.  You  are,  for  the  time,  his  "  humble 
servant."  The  attitude  of  the  body  will  vary  with  the 
condition  you  wish  to  represent. 


T\vi:\TY-rirru 


III.— 77/r   /AW   Lift,-,!.   iFi-.  10.) 

The  Load  is  lifted  in  joy,  animation, 
exultation,  vehemence,  expressions  of 
pride,  superiority,  and  the  like,  and,  aa 
a  bearing,  would  indicate  similar  mental 
characteristics. 


FIG.  10. 


IV.— The  Head  Pivoted.  (Fig.  11.) 
The  head  pivoted  or  turned  toward  an 
object  or  person  shows  a  feeling  of  at- 
traction ;  turned  from,  that  is,  in  an  op- 
posite direction,  the  pivot  indicates  dis- 
like, repulsion,  aversion.  Thi*  i^  ii"t  a 
bearing  ;  people  do  not  go  about  habit- 
ually with  the  head  turned  to  one  side. 


Fio.  11. 


[Speaker's  Position.] 


I. 


EXAMPLES. 

The  train  from  out  the  castle  drew, 

But  Marraion  stopped  t<>  bid  adieu. 

"  Though  something  I  might  'plain,"  he  said, 

Of  cold  respect  to  stranger  guest 

Sent  hither  by  your  king's  behest, 

Part  we  iu  friendship  from  your  land 

And'noble  earl,  receive  my  hand."        II.  [But  with  coldness.] 

—Scott. 

My  liege,  your  anger  can  recall  your  trust, 

Annul  my  office,  spoil  me  of  my  lands, 

Rifle  my  coffers;  but  my  name,  my  deeds, 

Are  royal  in  a  land  beyond  your  sceptre.— Bulwer  Lytton. 

This  selection  would  be  begun  in  the   attitude  of 
conscious    power   (I.),    and    gradually   develop    into 


THE  HEAD.  77 

(III.)  that  of  conscious  superiority,  at  the  words 
"  royal  in  a  land  "beyond  your  sceptre."  Of  course, 
a  conventional  bow  at  the  words  "  my  liege  "  would 
be  very  appropriate.  Also,  the  head  might  pivot  (IV.) 
toward  the  imaginary  "  office,"  "  lands,"  and  "  coffers;" 
but  such  movements  would  be  very  slight,  and  are  not 
necessary. 

To  be— or  not  to  be— that  is  the  question.     II. 

— Shakespeare. 

Now  glory  to  the  Lord  of  Hosts,  from  whom  all  glories  are  !    III. 

— Macaulay. 

NEPHEW.     A  merry  Christmas,  imcle  !    God  save  you  !    III. 
SCROOGE.     Bah  !  humbug  I— Dickens.     IV. 

Shall  I  bend  low  and,  in  a  bondman's  key, 

With  'bated  breath  and  whispering  humbleness,  say  this  : 

"  Fair  sir,  you  spit  on  me  on  Wednesday  last ; 

You  spurned  me  such  a  day  ;  another  time 

You  called  me — dog  ;  and  for  these  courtesies 

I'll  lend  you  thus  much  monies?" — Shakespeare. 

Oh,  where  is  the  knight  or  the  squire  so  bold, 

As  to  dive  to  the  howling  charybdis  below? — Schiller. 

Here  the  head  will  pivot  from  side  to  side,  as  the 
king  glances  over  the  assembled  courtiers,  while  his 
bearing  may  be  either  I.  or  III.,  more  likely  the  lat- 
ter, as  he  is  rather  a  haughty  individual.  This  is  an 
example  of  the  combination  of  two  attitudes. 

Remember  that  there  are  many  degrees  to  all 
actions  and  attitudes,  and  that  you  must  exercise  suf- 
ficiently good  taste  to  avoid  overdoing  on  the  one 
hand  and  tameness  on  the  other. 


LESSON  XXVI. 


Articulation.—  ' 


With  the  lips  closed  wo  have  ono  other  sound,  //?, 
sometinit-s  called  a  nasal  consonant,  because  its  sound 
escapes  through  the  nostrils.  It  is  in  reality  a  hum- 
ming sound,  and  is  ono  of  tho  iV\v  consonants  that 
may  be  sustained  for  an  indefinite  time. 

F  and  rare  fornx  d  by  pressing  tin-  lower  lip  against 
the  teeth. 

Wt  in  trine,  irit,  in  ?/7//W,  are  formed  by  rounding 
the  lips  somewhat,  as  in  the  formation  of  the  vowel 
do.  Wkis  really  Jnr:  we  say  /<//>  //,  /urine,  not  w-hen, 
•n'-lnne. 

With  the  tongue  in  various  positions  we  form  the 
following  consonants : 

T,  (/,  by  the  recoil  of  tho  tip  of  the  tongue  from 
the  upper  teeth. 

L,  n,  by  keeping  the  tip  of  tho  tongue  in  its  position 
against  the  upper  teeth,  but  more  relaxed  than  in  / 
and  d.  N  is  the  nasal  sound  in  this  position. 

R  is  formed  in  two  ways:  With  the  tip  of  the 
tongue  very  much  relaxed  we  get  what  is  commonly 

?a 


VOCAL  EXERCISES.  79 

called  the  trilled  or  rough  r;  with  the  tongue  curving 
inward  gently,  but  without  any  vibration  of  the  tip, 
we  have  the  smooth  or  glide  r,  in  care,  car,  culture,  etc. 
Be  sure  to  give  this  smooth  r  its  true  value  ;  do  not 
say  cdh,  call,  cultcha. 

With  the  tip  of  the  tongue  between  the  teeth  we  get 
th,  in  thin,  myth;  th,  soft,  in  this,  with,  beneath. 

Vocal    Exercises.— Continued. 
EXERCISE  IV. 

For  Speaking    Without    Waste  of  Breath. 

Wit! i  face  and  throat  perfectly  relaxed,  take  a  firm, 
solid  breath  and  call  out  suddenly  and  rather  forcibly 
"  lu'i  !"  As  you  make  the  sound,  expand  the  waist 
slightly.  Practise  this,  holding  the  flame  of  a  candle 
near  the  mouth.  If  more  breath  is  used  than  is 
necessary,  the  flame  will  flicker  as  you  make  the 
sound  ;  but  when  absolute  control  is  gained,  it  will 
remain  perfectly  steady.  Of  course,  the  flame  will  be 
disturbed  when  the  breath  escapes  after  the  exercise  ; 
do  not  mind  that. 

Use  other  vowel-sounds  in  the  some  way. 

Make  a  succession  of  sounds  with  one  breath,  as 
many  as  you  can,  and  in  various  rhythms, 


LESSON  XXVII. 


Attitudes  of  the  Head.— Continued. 


\.—  TJ»-  //""/  Indined  .Fig.  12) 
Indicates  ease,  trustfulness-,  familiarity,  or  indiffer- 
enC6.  When  tin-  head  is  inclined 
toward  a  )><-rx>ii  or  object  it  indicates 
affectionate  or  trustful  attention. 
"When  tin-  head  inclines  in  the  oppo- 
site direction  iVoin  the  object  at  which 
the  speaker  is  looking,  it  indicates 
distrust,  or  criticism.  "\Vln-n  th< 

.  ii.  ;,U,,   is   turned    away,    the   expression 

is  of  great  inditlerencc,  inattention. 

As  a  bearing,  the  head  may  BWSJ  from  side  to  >id«>. 
in  which  case  it  indicates  >elf-esteem,  indittereuce  to 
others,  egotism,  or  merely  an  ra^y-^oing  nature,  ac- 
cording to  the  degree  of  the  m<. vement.  The  head 
inclined  habitually  to  one  side  i>  indicative  of  a  senti- 
mental nature,  apt  to  be  indiscriminately  trustful. 
Very  great  inclination  denotes  a  degree  of  mental 
weakness.  Usually  this,  attitude  is  an  affectation. 

80 


ATTITUDES   OF  THE  HEAD.  81 

VI.—  The  Head  Advanced  (Fig.  13) 
indicates  eagerness,  curiosity,  and  sometimes  threat- 
ening.    This  also  may  be  a  bearing. 

\II.—  The  Head  Drawn  Back  (Fig.  14) 

indicates  surprise,  suspicion,  harsh  moods  of  the  mind, 
like  hatred,  fear,  anger  or  disgust.  As  a  bearing  it 
denotes  characteristics  of  a  like  unpleasant  nature. 


FIG.  13.  FIG.  14. 

VIII.— The  Head  Hincj  (Fig.  15) 

indicates  shame,  despair,  or  bodily  weakness.  The 
hung  of  the  head  differs  from  the  bow  in  that  all  the 
muscles  of  the  neck  relax  and  the  head  drops  lifelessly 
forward,  while  in  the  bow  the  neck  yields  but  a  very 
little  at  the  most.  As  a  bearing  this  would  indicate 
weakness  as  of  a  very  old  man,  an  invalid,  or  an  im- 
becile. 

IX.—  The  Head  Throivn  Back  (Fig.  16) 

indicates  prostration,  agony  either  of  mind  or  of  body. 
We  seldom  have  use  for  so  extreme  an  attitude  as  this, 


82  TWBNTY-SEVENTH   IXSSOM 

but  quite  often  make  a   similar  movement  to  express 

disgust  or  weariness,  throwing  back  the  head  &8  it 
seeking  to  rest  it  on  an  imaginary  pillow  or  on  the 
shoulder. 


Fio.  15.  10. 

_riy  when  you  will,  it  shall  li 
Do  what  you  will,  dishonor  shall  be  humor. 
<  •  <    UMJ  .-          i  are  yoked  with  a  lamb, 
That  carries  anger  as  the  fliut  bears  tire.     V. 

— Shaketpeare. 

Here  is  a  beautiful  example  of  the  indifferent  incli- 
nation an*l  action  of  the  head  in  tin-  first  t\v:>  lines, 
changing  to  the  affectionate  bearing  as  the  anger  of 
Brutus  gradually  melts. 

Who  is  it  leans  from  the  belfry  with  face  upturned  to  the  sky, 
Cliugs  to  a  column  and  measure.-  the  dix/.y  height  with  his  eye  r     VI. 

— Stunxbury. 

How  like  a  fawning  publican  he  lock-      V.    VII. 

— >'/ 

Here  Sliylock's  oxprossion  is  a  mixture  of  suspicion 
and  jealousy,  and  the  attitude  of  the  head  should  COV- 


ATTITUDES   OF  THE  HEAD.  83 

respond.  The  lieacl  will  not  only  incline  away  but  be 
drawn  back  from  Antonio,  whose  approach  he  is  watch- 
ing. 

King  Robert  crossed  both  hands  upon  his  breast 

And  meekly  answered  him  [VIII.]  "  Thou  knowest  best; 

My  sins  as  scarlet  are;  let  me  ge  hence, 

And  in  some  cloister's  school  of  penitence, 

Across  those  stones  that  pave  the  way  to  heaven, 

Walk  barefoot,  till  my  guilty  soul  be  shriven!" — Longfellow. 

Oh,  I  die,  Horatio; 

The  potent  poison  quite  o'er-crows  my  spirit.    IX. 

— Shakespeare. 

By  my  troth,   Nerissa,   my  little  body  is  a-weary  of   this  great 
\vi-rld.     IX.  —Shakespeare. 

In  practising  these  attitudes,  always  try  to  feel  the 
corresponding  emotion.  Take  a,sentence  like  "  what 
shall  I  do,"  and  give  it  with  each  attitude,  expressing 
by  your  voice,  as  well,  the  different  meanings  that  it 
would  have. 

Thus,  with  I.  the  question  would  be  simply  for  in- 
formation, or  to  express  willingness  to  perform  what 
might  be  required. 

"With  IT.  it  should  express  submission  (willing  or 
unwilling)  or  great  courtesy  ;  or  it  might  be  reflective 
in  character,  or  indicate  that  you  are  greatly  per- 
plexed. 

With  III.  it  might  express  joyous  willingness,— 
"  how  can  I  best  show  my  pleasure?" 

With  IV.  it  would  indicate  a  degree  of  uncertainty 
if  you  pivoted  the  head  from  side  to  side ;  or  a  great 


84  TWENTY-EIGHTH  LESS"\. 

degree  of  attention  if  the  head  were  <piift  ;  or  yofl 
might  express  contempt  by  turning  the  head  away,— 
"how  shall  I  get  rid  of  this  fellow  :J 

With  V.  indifference,  or  trustful  affection  might  be 
shown  in  the  voice. 

With  VI.  and  VII.  th'e  meanings  would  be  obvious. 

"With  VIII.  it  would  express  despair  or  shame. 

With  IX.  it  would  indicate  cither  agony,  <>r  tt-rrible 
mental  suffering;  or,  if  given  with  but  partial  relaxa- 
tion, weariness  or  disgust. 

To  TIIK  TKXUIKK:— Be  careful  that  the  pupils  do  not  mix  the  atti- 
tudes in  practising,  as.  for  instance.  bowing  and  hanirinir,  lifting 
and  throwing  bark,  pivot  ini:  nnd  inclining.  At  the  same  lime, 
do  not  foriret  that  many  of  the^e  attitudes  may  be  legitimately 
combined.  Space  will  not  allow  of  indicating  or  exemplifying 
these  here,  but  it  will  be  found  very  useful  to  work  out  such 
combinations,  with  their  appropriate  definitions,  as,  for  instance. 
inclining  and  bowinir  toward  the  object  denotes  trustful  submis- 
sion, while  the  opposite,  inclination  would  indicate  distrustful 
submission. 


LESSON  XXVIII. 


Climax. 

We  have  studied  the  relations  of  the  words  in  a 
phrase.  It  remains  now  to  show  that  the  phrases  in  a 
sentence  are  related  to  one  another,  just  as  the  words  in 
a  phrase  are  ;  that  sentences,  again,  combine  in  groups, 
of  which  one  will  be  the  most  important ;  that,  again 


CLIMAX.  85 

these  groups  or  paragraphs  bear  similar  relations  to 
one  another.  So  we  shall  find,  in  every  piece  that  we 
study,  ono  paragraph  that  is  the  most  important,  one 
sentence  in  that  paragraph  that  is  the  most  important, 
one  phrase  in  that  sentence  and  one  word  in  that  phrase 
that  is  the  most  important  of  all.  When  we  arrive  at 
this  word  we  have  reached  the  climax  of  that  partic- 
ular piece. 

We  speak  of  a  word  being  emphatic,  and  of  other 
words  in  the  phrase  as  being  subordinate  to  that 
word.  Just  as  we  have  a  series  of  emphatic  words 
more  or  less  subordinate  to  the  principal  emphatic 
word  in  a  sentence,  so  we  "have  subordinate  climaxes 
in  pieces  of  considerable  length. 

ILLUSTRATIVE   EXAMPLE. 

worse 


blocks 


you 


stones 


you 


you 


tlmii 


senseless 


things ! 
— Shakespeare. 

Here  are  three  emphatic  words  in  as  many  phrases. 
Each  phrase  starts  a  little  higher  than  the  preceding. 
Each  emphatic  word  is  further  from  the  subordinate 
word  that  precedes  it.  "You  worse  than  senseless 
things"  is  the  climax,  and,  of  course,  "  blocks"  and 
"stones"  are  emphases  subordinate  to  "worse,"  as 
are  their  respective  phrases  to  the  last  phrase. 

The  well-known  oration  of  Mark  Antony  is  a  splen- 
did illustration  of  a  series  of  climaxes,  culminating  at 


86  TWENTY-EIGHTH   LESSON. 

the  very  last  line.  Often  the  principal  climax  will  be 
followed  by  subordinate  paf  I  nit  a  trulv  dra- 

matic outburst  leaves  tin-  audience  at  tin-  hi-hest  pitch 
of  emotion.  After  a  subordinate  climax,  there  should 
be  a  period  of  comparatively  quiet  expression,  gradu- 
ally culminating  in  another  strongly  emphatic  pas- 
sage. 

Just  as  a  painter  g.-ts  1.  -  of  light  by  putting 

surrounding  objects  more  or  less  in  shadow,  so  we  in- 
tensify our  climax  by  using  moderation  in  the  passa- 
ges that  precede  and  follow  it.  In  the  above  exam- 
ple if  all  our  force  of  emphasis  were  expended  upon 
"you  blocks/'  there  would  be  nothing  left  to  gi\e 
added  strength  to  \\hat  follows;  and  if  a  passage  of 
this  kind  -were  of  any  great  length,  the  reader  would 
be  exhausted  before  reaching  the  end,  and  unable 
to  sustain  what  force  he  had  already  given,  the  result 
of  which  would  be  an  anti-climax,  which  is  usually 
either  very  painful  to  fhe  listener  or  very  ridiculous. 

"King  Kob.-rt  of  Sicily,"  "Catiline's  Defiance," 
"Mrs.  Caudle's  Curtain  Lectures,"  "  The  Vagabonds," 
"  Bay  Billy,''  and  simila1  ions,  are  good  exam- 

pi'  s  of  a  succession  of  clima 

The  means  for  attaining  this  effect  are  various,  de- 
pending upon  the  kind  of  emotion  portrayed.  Some- 
times the  climax  is  attained  simply  by  high  pitch, 
sometimes  by  force,  and  again  by  sinking  the  voice 
and  reducing  its  volume  to  a  whisper.  We  will  di- 
some  of  these  means  in  the  following  lessons.  In  the 


THE  EY&  S? 

meantime,  analyze  some  of  the  selections  mentioned 
above,  bearing  in  mind  that  the  rules  for  emphasis 
given  in  previous  lessons  apply  exactly  as  well  to 
phrases,  sentences  and  paragraphs  as  to  words. 


LESSON  XXIX. 


The  Eye. 

The  eye  is  the  leader  in  all  expression.  If  we  wish 
to  direct  attention  toward  anything  about  us,  we  must 
first  look  at  it  ourselves  ;  if  we  feel  emotion  of  any 
sort,  the  first  manifestation  of  it  is  seen  in  the  eye. 
To  be  exact,  we  should  treat  of  the  actions  of  the  lids 
and  brows  separately  from  those  of  the  eye  proper ; 
but  for  convenience  we  will  consider  the  eye  as  com- 
prising the  upper  and  lower  lids,  the  eye  proper,  and 
the  eyebrows  above. 

The  eye  in  its  normal  condition,  looking  straight 
forward,  indicates  calmness,  confidence,  equality  with 
the  person  toward  whom  we  gaze.  The  eye  lifted, 
looking  upward,  indicates  calm  and  confident  regard 
of  something  superior  to  ourselves  ;  looking  downward 
indicates  regard  of  an  inferior.  We  call  these  the 
direct  actions  of  the  eye. 

Starting  from  the  normal  size,  the  eye  opens  wider, 


88  TWENTT-lflNTB  IB880N. 

through  the  following  :  imated  attention; 

uprise,  pain,  •"-    frenzj.    The  ey e  contract* 

through  (1)  indii:  •_'     slyness,  craftiness,  scru- 

tiny, antagonism,  to  dl,  sleep,  or  death.  With  ail,  ex- 
cept the  last,  we  ma}'  have  the  three  regards  of  the 
eye;  that  i-.  we  may  look  toward  a  superior,  an  equal, 

or  au  inferior  with  hatred,  indifference,  animation  or 
-whatever  may  be  the  emotion  required. 

The  position  of  the  eyebrows  would  sometimes  be 
parallel  with  the  upper  lid,  as  in  surpris.-,  when  both 
lid  and  brow  rise,  or  in  opposition,  as  in  horror.  In 
extreme  terror  the  eyobrow>  ri-e.  In  threatening  an- 
p-r,  j)hysical  pain,  tin-  l>n>\\s  i-ontrart  ;  tlicv  contract 
with  less  intensity  in  pux/h-d  thought,  aj)plication. 
The  brows  risr  in  surj»ris,..  ].ati«-nt  endurance,  suffer- 
ing 

The  indirect  eye,  as  it  is  called,  that  is,  the  eye  not 
looking  straight  forward,  n]>,  or  down,  but  more  or 
-ideways,  like  the  indirect  intlevtions  of  tljt-  voice, 
lia-  a  d'-ubl.'  meaning.  With  the  eye  indirect  we  look 
at  an  object  with  suspicion,  fear,  affection,  indifference, 
raillery,  or  various  other  -motions,  ai-cordin^  to  the 
attitude  of  the  head.  For  instance,  the  indirect  eye 
with  the  head  inclined  toward  an  object,  indicates  not 
merely  attention,  but  attention  to  some  one  or  some 
thing  we  are  attracted  toward;  with  the  head  in  the 
opposite  direction  the  indirect  eye  i-  ^uspirious,  fear- 
ful, or,  at  h-ast  critical.  It  will  be  seen  that  the  atti- 
tudes of  the  head  mu>t  be  carefully  studied  before  we 


THE  EYE.  89 

can  have  certainty  in  determining  the  meaning  of  a 
glance.  The  indirect  eye  may  be  normal,  lifted  or 
lowered,  as  well  as  the  direct  eye. 

The  various  attitudes  of  the  head  combine  with  and 
modify  the  meaning  of  the  direct  eye  in  many  in- 
stances. Thus,  with  the  head  drawn  back  we  would 
have  harsh  regard  of  superior,  inferior  or  equal,  as 
the  case  might  be ;  with  the  head  lifted,  adoration  or 
contempt,  according  to  the  direction  of  the  eye,  etc. 

Bowing. 

In  bowing  to  an  audience  the  head  bends,  then  the 
torso  inclines  slightly ;  the  torso  first  returns  to  an 
erect  position,  then  the  head  follows.  Be  careful  to 
observe  this  order.  The  attitude  of  Kespect  is,  of 
course,  the  proper  one  for  the  legs.  Do  not  bend  the 
knees.  Glance  about  the  room  as  you  bow,  or  else 
bow  several  times,  i.  e.,  to  right,  to  left,  and  in  front ; 
the  first  method  is  much  the  better. 

To  THE  TEACHER  : — The  hints  given  above  regarding  the  combina- 
tions of  head  and  eye  will  suggest  to  the  earnest  teacher  a  broad 
field  for  investigation.  How  far  the  student  may  be  allowed  to 
work  out  these  problems  will  depend  upon  his  natural  ability 
and  mental  advancement.  The  teacher  can  demand  ns  much  or 
little  of  independent  investigation  as  he  deems  lit.  I  have  usu- 
ally found,  however,  that  pupils  who  are  sufficiently  advanced 
to  comprehend  this  work  at  all,  take  delight  in  such  problems, 
and  derive  much  greater  benefit  from  original  investigation  than 
from  merely  learning  what  is  already  laid  down  for  them.  The 
order  of  movement  in  attention  is,  first,  eye,  then,  head  ;  but  in 
declamation  and  dialogues,  where  the  action  is  determined  and 
studied  beforehand,  pupils  are  very  apt  to  make  a  mechanical 
turn  of  the  head  in  inverse  order ;  first,  head,  then,  eye.  To 
overcome  this  may  require  much  patience  ;  but  the  habit  must 
be  conquered  before  the  pupil  proceeds  further  in  pantomime. 


LESSON  XXX. 


Rhythm. 

In  our  first  studies  in  emphasis  wo  notice  that 
the  important  word  of  the  phra>e  \\as  often  uwelt 
upon,  while  the  subordinate  words  were  spoken  more 
rapidly  in  comparison.  For  instant-*-,  "  I  stood  on  the 
bridge,"  if  spoken  naturally,  would  exhibit  quite  a 
variety  of  movement;  the  words  I  stood*1  would 
about  equal  the  word  "bridge"  in  time  value,  while 
'•on  tin-  "  would  be  spoken  <piit«-  rapiilly,  "  the  "  being 
only  an  obscure  sound  with  i  .-due  than  if  it 

were  an  unaccented  syllable. 

It  is  easy  to  see  that  this  variety  of  movement  not 
only  serves  the  purpose  of  showing  the  proper  rela- 
tions of  the  various  words  with  "i"'  another,  but  is 
more  agreeable  to  the  ear  than  a  measured  and  mo- 
notonous rendering  c-ould  possibly  be.  It  is  this  har- 
monious variety  of  movement  that  constitutes  rhythm. 
It  is  not  alone  nece^ary.  remember,  thai  there  should 

be    variety,   but   the    variety    must    have    a    reason    be- 
hind it. 

Rhythm  in  speech  does  not  diti'er  very  widely  from 
musical  rhythm.  It  i-  UK. re  varied  and  chan--<  able, 

90 


RHYTHM.  91 

but  the  elements  are  essentially  the  same.  We  have, 
for  instance,  triple  and  common  movements,  phrases 
beginning  upon  various  beats  of  the  measure,  and 
pauses  which  correspond  to  rests  in  music,  and,  like 
them,  should  be  proportioned  to  the  movement  of  the 
spoken  words.  Our  combinations,  however,  are,  as 
we  have  said,  much  more  varied  than  in  music,  for  we 
have  frequent  alternations  of  triple  and  common 
time,  abrupt  changes  in  the  rate  of  movement,  and 
much  greater  freedom  in  the  use  of  pauses.  How- 
ever, when  we  consider  what  we  have  learned  with 
respect  to  the  melody  of  speech  in  connection  with 
the  above-mentioned  resemblances  in  rhythm,  we  find 
that  speech  and  song  are  much  nearer  together  than 
are  commonly  supposed. 

\\  V  can  easily  illustrate  both  the  resemblances  and 
differences  of  the  two  by  a  few  characteristic  exam- 
ples:  The  words  "Yankee  Doodle"  are  pronounced 
just  about  as  they  are  sung,  so  far  as  the  rhythm  is 
concerned,  though  as  much  cannot  be  said  for  the 
remaining  words  of  the  song,  which  are  subordi- 
nated to  the  melody.  By  using  dotted  notes,  however, 
the  melody,  simple  as  it  is,  may  be  brought  pretty 
near  to  the  natural  rhythm  of  the  lines.  "  Come 
to  my  house"  is,  virtually,  three-four  time,  thus 

^    J  •   W    J     •  J    *  Come     to  •  my     house    is    £ 

rhythm  |  J  •  JS  |  ^  j  -  |  or,  if  very  em- 
phatic, J .  «T  J  •  J  *  Come  to  mJ  house 


THIRTIETH  LESSON. 


J    (J..    J*J    *    1  1  Come  to  my  houseS    J. 


J 

This  ovenino;  is  :  •  |  j  J  Com,-  to  my  house 
this  evening,  if  spoken  naturally,  uould  correspond  to 
|  J-  /J  |  |  J  J  J  "j  ||  01  better,  per- 

haps,  0-00  j  J  I  j    J  ?        Here  we  Lav.-  a   mixture  of 

triple  ami  quadruple  or  common  time,  wliu-h  is  n<>t 
rare  in  music.  l>ut  is  much  more-  common  in  speech. 

Tin*  relations  «,f  words,  phrases,  and  sentences  are 
shown  (piit.-  Afl  dearly  l»y  their  rhythmical  pmpnr- 
tions  as  l>y  variations  in  ]»itch. 

It  is  ea-  that  imjM.rtant  phra>e>.  sentenc.-s, 

and  ]»ara^raj»lis  uill,  otlier  things  l.eini:  ecjual,  have 
slower  movement  and  broader  rhythm  than  less  nec- 
essary passages,  often,  however,  where  the  expres- 
sion is  of  an  impetuous  nature,  the  climax,  is  attained 
l»y  rush  and  stress,  rather  than  hv  breadth.  Compare 
the  folh.win-  fn.n,  »  Henry  I  V.."  Part  T.  : 

KIN*(;.          Sirnili,  from  henceforth 

Let  UK-  not  h«-:ir  you  speak  of  Mortimer  : 

Send  me  your  pri^nnci<  with  the  speedieM  in- 

Or  you  shall  hear  in  such  a  kind  from  me 

A-  will  di>plea-e  you. 

Send   us  your  prisoner*  or  you'll   hear  of  it.     [Sloir 

[  Exit  .  ]  impressive  .  ] 

HoTsrrn.  An  if  the  I'N-vil  come  and  roar  for  them. 

1  will  not  send  them  :   I  will  after  straight, 

And  tell  him  so  ;  for  I  will  ease  my  heart, 

Although  it  be  with  hazard  of  my  livm.}.—  Shakespeare. 


ACTIONS  OF  THE  HAND.  93 

Contrast  the  commanding  manner  of  the  king  with 
the  impetuosity  of  the  fiery  Hotspur. 

Play  uppc,  play  uppe,  O  Boston  bells  ! 

Ply  all  your  changes,  all  your  swells, 

Play  uppe  "  The  Brides  of  Ended)y." — Jean  Ingelow. 

Here,  again,  the  impetuosity  and  excitement  cause 
more  rapid  movement  at  the  climax.  "  Sheridan's 
Hide,"  and  Coleridge's  "Hymn  to  Mont  Blanc"  may 
be  instanced  as  examples  at  opposite  extremes  of 
rhythmical  expression. 


LESSON  XXXI 


Actions  of  the  Hand, 


The  actions  of  the  arm  are  what  are  usually  known 
as  gestures.  Although,  as  we  have  seen,  gestures  may 
be  made  elsewhere,  the  arm  has  almost  a  monopoly 
of  them.  The  arm  is  divided  into  upper  arm,  fore- 
arm, and  hand.  We  begin  with  the  hand. 

I.— Simple  Indication.    (Fig.  17.) 

Point  with  the  forefinger  of   either  hand   toward 
some  object ;  be  sure  that  the 
movement  is  from  the  wrist, — 
that  is,  that  the  hand  alone  and 
not  the  forearm  moves.     Have  FIO.  17. 


'.'1 

the  arm  near  the  l><><ly  in  an  easy  aiul  natural  atti- 
tude. The  other  tinkers  of  tho  hand  sin  mid  nut 
shut  tightly,  but  be  allowed  to  i'all  cavils  into  a 
curved  position.  The  forefinger  here  is  active,  the 
other  fingers  are  passive.  The  thumb  should  not 
fall  lifelessly  inward,  but  should  have  a  decree  of 
activity,  being  expanded  outward  and  upward  in  pro- 
portion to  the  activity  of  the  fnivtinger. 

The  thumb  is  always  more  «.r  less  active  in  all  ani- 
mated, healthy  conditions  of  mind  and  body.  A 
relaxed  thumb  indicates  either  lack  of  vitality,  indif- 
ference or  passivity  of  mind,  or  weakness  of  intellect. 
Of  course,  in  rest  and  sleep,  the  thumb,  like  the  other 
parts  of  the  bod\,  is  passive,  and  in  portraying  sleep, 
fatigue,  or  death,  the  thumb  should  be  relaxed. 

Point  upward,  downward,  forward,  outward,  a!  tho 
sid.-,  and  inward  aCTOSfl  the  body,  with  the  arm  in 

various  at t it u«  i  — .      Dse  expressions  like  "  I k  at  this 

table!"     In  canning  the  hand  outward  at  the  side  be 
careful  that  the  outward  movement  is  edgewise,  or,  as 
iv,  that  the  edge,  of  the  hand  leads. 

A  graceful  gesture  is  always  made  in  the  easiest 
manner.  The  edge  of  the  hand,  like  the  bow  of  a 
boat,  passes  through  the  air  with  the  least  resistance; 
the  palm,  on  the  contrary,  seems  to  push  away  the  air 
by  sheer  force.  It  is  plain  that  the  edgewise  movement 
will  appear  more  graceful  and  easy  to  the  e}re  of  the 
beholder,  while  the  palm  leading  gives  an  impression 
of  greater  strength  because  seeming  to  overcome 


ACTIONS   OF  THE  HAND.  95 

greater  resistance,  or,  at  least,  being  capable  of  over- 
roniing  it  if  it  were  present. 

The  back  of  the  hand  is  the  weakest  as  the  palm  is 
the  strongest  side  of  the  hand,  and  all  gestures  in 
which  the  back  of  the  hand  leads  seem  weak  and 
ineffective.  Avoid,  therefore,  leading  with  the  back 
of  the  hand,  unless  you  intend  to  give  an  impression 
of  weakness. 

II. — Beckoning. 

Beckon  with  the  hand,  that  is,  indicate  yourself. 
"  I  myself ;"  "  come  here  !" 

III. — Admiration. 

Lift  the  hand,  palm  outward,  with  gentle  activity  of 
the  fingers,  much  as  if  you  would  caress  something 
before  you,  or,  more  strongly,  as  if  to  exhibit  some- 
thing on  your  palm.  This  expresses  admiration,  pleas- 
ure in  something  before  you  in  reality  or  in  imagina- 
tion ;  with  very  gentle  action  it  shows  a  wish  to  caress 
the  object.  "  It  was  magnificent !"  "  How  beautiful 
she  is !  "  "  How  soft  and  warm  !  " 

IV. — Repulsion. 

Raise  the  hand,  palm  outward,  with  all  the  fingers 
active  and  spread  apart,  as  if  to  ward  off  something 
from  the  body. 

This  is  the  attitude  'of  sudden  surprise  or  fear,  or 
whenever  there  is  a  feeling  of  repulsion  or  desire  to 


96  THIRTY-SECOND  LESSOX. 

ward   off  something.      "Oh!"    "ugh,"    "  disgusting," 
"keep  off." 

Combine   actions    and   attitudes   of  the   head   with 
these  gestures. 


LESSON  XXXII. 


Articulation  .—Continued. 


The  middle  of  tin-  tongue  rittfl  to  form  the  conso- 
nant y. 

K  and  g  are  formed  l>y  the  shutting  t« 'gather  and 
recoil  of  the  back  of  the  tonkin-  and  the  soft-palate. 
S'j  is  the  nasal  sound  in  this  position. 

S  and  .*/*  a  iv  hissing  Bounds  mad*-  through  the 
nearly  closed  teeth. 

Z  and  zh  are  buzzing  sounds  in  much  the  same 
position.  (Zh  represents  tin-  sound  of  z  in  azure  and 
of  g  of  rouge.} 

Tsl  is  tin*  l>est  representation  (.f  tin-  sound  of  <7>  in 

(•/»///,  rJinrr]i,   much. 

Dzh  is  tlic  sound  of  y  and  soft  </,  in  '/"/"-,  «<j<\ 

f\n-  is  the  sound  of  g  in  qw>  r. 

A'-v  i>  the  sound  of  ./•  in  r>  .r,  />,,/. 

Many  consonants  stand  for  different  sounds.  Jt  will 
be  found  that  the  list  we  have  given  covers  the  entire 
field,  the  various  letters  and  combinations  omitted 


VOCAL  EXERCISES.  97 

being  simply  duplicates  of  tliese.  Tims :  ch  hard  in 
choir  is  the  sound  of  k ;  c  is  either  s  or  k,  according  as 
it  is  hard  or  soft,  as  in  cinder,  cat. 

H  is  not  usually  regarded  as  a  true  consonant,  being 
simply  a  rough  breathing,  or  aspiration  as  it  is  called. 
Compare  hat,  at,  oyster,  hoister,  etc. 

Th  is  not  an  aspirated  t,  but  a  separate  sound  hav- 
ing its  own  definite  position  of  the  tongue.  So  ph  is 
not  aspirated  p,  but/. 

Vocal    Exercises.— Continued, 
for  Forward  Placing  of  the   Voice. 

1.  Hum  very  softly  the  sound  m.     Open  the  mouth 
very  gently,  still  keeping  the  soft  humming  sound. 

2.  Practise  the  hum  with  open  mouth  at  the  begin- 
ning. 

3.  Practise  in  combination  with  the  various  vowel- 
sounds,  thus  :    m — a,  mo,  prolonging  both  the  liiuii- 
mmg  sound  and  the  vowel. 

4.  "With  full  voice  explode  the  sounds  md,  md,  mo, 
as  directed  in  Lesson  XXIX. 

5.  Also  use  Id,  td,  Id,  to,  both  softly  and  loudly. 
With  no  break  in  the  soft  humming  sound,  make  a 
series  of  vowels  like  d  d  e  d  do  with  the  slightest  pos- 
sible action  of  the  agents  of  articulation, 


LESSON  XXXIII. 


Actions  of  the  Hand.— Continued. 


V. — J/ //>«//. 

Extend  the  hand  iu  front,  -with  palm  up,  fingers 
active,  as  if  to  take  something.  "  ( live  it  to  me." 

This  is  tlu-  action  of  appeal.  It  is  appropriate  not 
only  to  a  request  for  some  object,  but  to  all  questions, 
of  appeal,  Mich  as  "am  I  not  right  ?"  "won't  you  do 
it?"  and  even  to  simple  interrogations. 

VI.  —Reject 

With  the  hand  extended  in  front,  palm  down,  as  if 
covering  a  flat  surface,  move  the  hand  sideways  out- 
ward, as  if  trying  to  push  something  away  with  the 
outer  edge  of  the  hand. 

This  is  rejection,  denial,  negation.    "Take  it  av 
"  nonsense,"  "  pshaw,"  "I  don't  believe  it.'      This  ac- 
tion is  stronger  v\hen  the  palm  is  "from  earth,"  that 
is,  as  in  IV.     It  is  then  called  demonstrative  rejection. 

VIL— Declaration. 

Fold  the  hand  slightly  toward  the  body  as  in  II., 
but  without  special  activity  of  the  forefinger;  then 

98 


ACTIONS   OF  THE  HAND.  99 

carry  the  hand  outward  at  the  side  until  the  palm  is 
o ward  the  audience,  as  if  to  show  that  you  hare 
nothing  concealed  in  or  about  your  hand. 

This  is  declaration,  revelation,  "It  is  so,"  "yoii 
can  si'i;  for  yourself." 

VIII.— Declaration  until  Surrender, 

As  in  Y.,  Imt  with  a  downward  inclination  of  th© 
hand  as  well. 

This  is  a  declarative  movement  with  surrender, 
"  You  are  right,"  "I  acknowledge  it,"  "I  was  wrong," 
"I  give  it  up."  (The  downward  tendency  of  the  hand 
is  in  proportion  to  the  degree  of  surrender,  the  out- 
ward to  that  of  revelation.) 

I  X. —  Concealment. 

Place  the  hand  upon  the  body,  as  if  to  conceal  or 
caress  some  part  of  it. 

This  is  the  opposite  of  VII.  and  VIII.  It  is  the  ac- 
tion of  apprehension,  concealment,  self-caress.  When 
we  feel  pain  the  hand  seeks  the  suffering  part  in  this 
way. 

Practise  all  the  foregoing  movements  until  the  hand 
is  flexible  and  free.  At  first  relax  tha  hand  com- 
pletely betwreen  the  -gestures,  but  when  the  gestures 
have  been  thoroughly  learned  separately,  practise 
them  in  a  connected  series  in  the  order  in  which  they 
have  been  given,  and  in  other  combinations,  i.e.,  (1) 
indicate,  (2).  beckon,  (3)  admire  or  caress,  (4)  repel,  (5) 


100  THIRTY-FOURTH   LESSON. 

appe.  .-ny,  (7)  reveal,  i_8»  surrender,  .<>>  conceal. 

Practise  with  each  hand  until  p-stnro  is  as  natural 
with  ono  as  with  tho  other.  Numbers  2  to  9  inav  l>o 
practised  with  both  hands  together.  Finally,  practise 
these  actions  from  tho  elbow — that  is,  moving  the 
forearm  as  well  as  the  band.  l>o  careful  to  <>!»>. -r\«- 
the  proper  order  of  movement,  munch  :  the  for*  arm 
moves  first,  then  the  hand.  The  hand  is  surrendered 
until  the  forearm  is  nearly  in  its  place,  then  the  hand 
acts  as  before. 


LESSON  XXXIV. 


Pitch,  Movement,  and  Volume. 


All  li^fht,  unconstrained  feelings  manifest  themselves 
by  high  pitch  and  more  or  l.-s^  rapid  movement. 


M'rrily  swin«rin«:  mi  liricrnml 

-'  of  his  little  <l;iin«-  ; 
Over  the  mountain-side  or  nu 

Robert  of  Lincoln  is  ti-llinir  hi-  inmr         Ilri/nnt. 

Serious,  di(urnirird  »-\pn  ----it>n,  (»n  tlio  other  hand, 
calls  for  self-r»>straint  ;  therefore,  the  movement  will 
l>e  slower,  tho  pitcli  lower,  and  tho  pauses  more  fre- 
quent and  longer  in  proportion  to  tho  decree  of  seri- 
ousness or  dignity.  \'eiy  solemn  or  sad  i-xpiv- 
would  have  low  tone  and  \orv  slow  movement. 


PITCH,    MOVEMENT,    AND    VOLUME.     101 

How  long,  0  Catiline,  wilt  thou  abuse  our  patience  ? 

How  long  shalt  thou  baffle  justice  in  thy  mad  career?— Cicero, 

To  be — or  not  to  be— that  is  the  question. — Shakespeare. 

Break,  break,  break, 

At  the  foot  of  the  crags,  O  sea  ! 

But  the  tender  grace  of  a  day  that  is  dead 

Will  never  come  back  to  me.— Tennyson. 

In  excitement  the  movement  is  abrupt  with  frequent 
pauses.  ,  »  - ; 

And  lo  ! — as  he  looks — on  the  belfry's  height 

A  glimmer — and  then  a  gleam  of  light ! 

A  hurry  of  hoofs  in  a  village  street — 

A  shape  in  the  moonlight — a  bulk  in  the  dark — 

And  beneath— from  the  pebbles  in  passing— a  spark — 

Struck  out  by  a  steed  flying  fearless  and  fleet,—  Longfellow. 

In  unemotional  reading  we  have  medium  pitch 
and  rate,  that  is,  the  pitch  and  rate  of  ordinary  con- 
versation. 

There  is  one  accomplishment,  in  particular,  which  I  would  ,,.- 
nestly  recommend  to  you.  Cultivate  assiduously  the  ability  to  read 
well.  Where  one  person  is  really  interested  by  music,  twenty  are 
pleased  by  good  reading.  Where  one  person  is  capable  of  becoming 
a  skilful  musician,  twenty  may  become  good  readers. — Hart. 

AVith  regard  to  the  volume  or  loudness  of  the  voice, 
it  may  be  said  that,  in  general,  the  ordinary  speaking- 
voice  is  sufficient.  In  shrieking,  calling,  shouting, 
cheering,  and  the  expression  of  unrestrained  anger 
or  defiance,  the  volume  may  be  very  great,  but  even 
here  do  not  try  to  stun  your  hearers.  Never  mistake 
noise  or  bluster  for  intensity.  True  feeling  does  not 
manifest  itself  by  explosive  utterance,  In  gentle. 


LOJ  THIRTY-FOURTH  LKtsOX. 

subdued  emotions,  the  v« »ice  U  >,,ft  ami  musical, 
whilst  in  avs  nd  fear,  it  sinks  almost  and 

sometimes  quite  to  a  whisper. 

Remember  that  in  speaking  in  a  largo  hall,  it  is 
necessary  to  allow  time  for  tin-  voice  to  roach  every 
11  in  the  audience,  so  we  should  speak  more 
slowly  than  when  at  home,  or  in  the  school-room. 
If  we  are  careful  to  do  this,  re  n--ed  not  shout  nor 
strahi  tip  an  use  ourevery-day  couver- 

sati"iial  ton.-  -iiid  be  perfectly  at  case. 

I- . .  ;  •••{  peak  in  a  n.i  -asuivd  and  stilted  manner  at 
anv  tiiiif,  but  keep  the  same  proportion  between  im- 
portant and  unimportant  uordsas  in  ordinary  con- 
reraatlOIL  It  i-  bea\  fco  talk,  for  the  most  part,  to 
that  portion  of  the  audience  that  is  farthest  from  YOU. 
In  that  way  \<>u  \\ill  h-arn  to  "  project''  the  tone  so 
that  the  words  are  carried  distinctly  everywhere. 

If  there  is  an  echo,  speak  more  softly  ami  slowly 
than  usual.  Al\\a\x  b, -in  (juietly,  so  that  you  feel  a 

sense  » •!'  reserve  p«  m 

Carefullv  avoid  diminishing  the  V(.lume  of  the  voice 
in  anv  phrase  after  the  emphatic  Mord  ha->  been 
reached.  To -ive  the  remaining  words  \\ith  less  than 
the  jn-evimis  degree  of  strength  gives  all  impression  of 
]»hvsii-al  \\eakness.  as  if  the  breath  had  given  out.  Of 
roiirse,  this  rule  doe>  not  apply  to  instances  where 
that  especial  etVect  i>  desired. 

Do  not  interpret  what  has  been  said  here  to  mean 
that  the  volume  of  the  voice  is  never  to  vary.  In  all 


FULL- ARM  GESTURES.  103 

strong,  vital  emotions  there  will  be  a  mora  or  less 
gradual  increase  of  volume  corresponding  to  the  cres- 
cendo in  music,  culminating  on  the  emphatic  word. 
In  very  tender  emotions,  the  volume  may  gradually 
diminish  until  the  emphatic  word  is  reached.  Com- 
pare "  How  I  hate  }rou,"  with  "How  I  love  you." 


LESSON  XXXV. 

Full-Arm  Gestures. 


Pull-arm  gestures  are  appropriate  where  there  is 
great  earnestness,  strong  feeling,  or  when  addressing 
an  audience  of  any  size. 

We  have  an  almost  infinite  number  of  expressive 
actions  of  the  arm,  but  a  few  examples  will  suffice  to 
illustrate  right  and  wrong  ways  of  making  them. 

One  of  the  most  common  faults  is  not  observing  the 
proper  order  of  movement,  which  is  :  first,  upper  arm  ; 
second,  forearm ;  finally,  the  hand  and  fingers.  An- 
other fault  is  to  finish  the  gesture  with  the  arm  only 
partly  developed,  "broken,"  as  we  sometimes  say 
(Fig.  5). 

EXERCISE  I. 

Indication  (palm  up). 

Select  an  object  at  the  side.  Remember  that  the 
actions  of  the  eye  and  head  precede  that  of  the  arm. 


104  TV// /.'7' )'-/••//•  777    A/ 

1.  Raise  the  upper  arm,  letting  the  rest  of  tlio  arm 

han«4  lifeless,   until  the 
elbow  points  in  the  di- 
'H  Ol  the  object. 

_.  Btraigh ten  the  fore- 
arm, at  tin-  same  time 
turning  it  at  the  elhow 
BO  that  the  hand,  which 
still  remains  passive,  is 

FIG.  18.  moved      edgewise     until 

the  wrist  is  "from  earth."  brin^in^  the  palm  up. 
3.  Straighten  out  the  hand  with  the  forefinger  point- 
-  «l.-scriluMl  in  Lesson  XXXI.      l'»e  «'verv-da\  -ex- 
pressions, like  "  look  at  that,"  "  take  a  chair." 

!  II. 

LtiJiciitiini    (  j*tlin    il< 

This  is  a  more  active  expression  than  the  former 

. one.     In  pointing  out  objects 

ftt  a   -real  distance,  or  where 

thoi'i  'ness,  ex- 

Fl°-  w-  citement  or  command,  we  use 

this  form   of  indication;  the  other  is   more   easy   and 
trustful. 

The  order  of  action  is  as  before,  but  with  the  outer 
ed^e  of  the  hand  leading  instead  of  the  inner.  (Fig.  18.) 
"Go!"  "AVho  is  it  leans  from  the  belfry  with  face 
upturned  to  the  sky  ?" 


FULL- ARM   GESTURES. 


105 


Practise  these  until  the  three  movements  blend 
gracefully.  Be  very  careful  not  to  overdo  the  move- 
ments or  add  affected  curves  to  the  forearm  and 
hand  movements.  Make  every  gesture  as  simple  as 
possible. 

EXERCISE  III. 
Indication  of  Self — Folding  Movement. 

Here  the  arm  folds  in  instead  of  developing  out- 
ward. With  the  arm  hanging  at  the  side : 

(a)  Turn  the  arm  slightly,  bringing  the  palm  out- 
ward, at  the  same  time  carrying  the  elbow  out  a  very 
little  distance  from  the  body.  (Fig.  20.) 


Fio.  20.  FIG.  21.  FIG.  22. 

(I)  Fold  the  hand  so  as  to  bring  the  fingers  point- 
ing toward  the  part  to  be  indicated.  (Fig.  21.) 

(c)  Fold  the  forearm,  at  the  same  time  raising  the 
upper  arm  and  carrying  it  out  from  the  body,  until  the 
fingers  touch  the  spot  you  wish  to  indicate.  (Fig.  22.) 


106  77/77, 7T-/7/-77/  IB8 

Stll.lv    the    movement-    Separately,    tliel!    Melld   tlielil. 

Indicate  varii»u>  part>  of  the  body,  using  appropri- 
ate expressions,  fnr  instance:  touching  the  foreln  ad 

with     the     forefiu._ 

"  let  Hie  see;"    touching 

the       lips,       -hush;" 
-iii.ii'       thr       palm 
-t  tin-  lu-ai't,  "(  )h, 
I   have     sunVlvd     with 
FIO.  23.  those   that  I  saw  suf- 

fer;"  touching    tlie    sido  of   the   nose  with   the    foivtin- 
!  I.  is  >1\.  xii-."      I-'j^.  -j:i  illustrates  an  imli- 
oation  preceded  by  a  folding  moyemeni     AVh«-r»'  tin-re 
i-  ail  -<>nal  t'fclin--,  gestorea  are  often  l>e^un  in 

this  way,  mental  .  i  starting  from  the  head,  einc- 

tinnal    gestures,  h.ve,  indi-  Hat  i«  >n,  etc.,  iVoiu    the   el)e>t 
or  heart  region,  vital  gestures  from  tin-  waist. 

EXEIKI-      1 

Suspense. 

An  attitude  of  the  hand  and  arm  which  often  accom- 
panies the  attitude  of  BH  .ration  in  the 
ifl  that  in  which  the  hand  is  drawn  in  toward  the 
Itody,  the  palm  downward,  the  lingers  spread  well 
apart,  and  the  elbow  active,  very  much  as  in  Fig.  26, 
but  with  the  hand  much  nearer  the  line  <>i  the  \\ai>t, 
and  .not  quite  so  near  the  body.  Fig.  33  is  also  an 
example  of  another  and  stronger  form  of  suspensive 
action,  indicating  a  tendency  to  repel.  These  attitudes 


I 

FULL- ARM  GESTURES.  107 

always  go  finally  into  some  fully  developed  gesture, 
varying,  of  course,  according  to  the  emotion  that  suc- 
ceeds the  state  of  suspense. 

EXERCISE  Y. 
Returning  to  Rest. 

In  bringing  the  arm  to  rest  again  after  one  or  more 
gestures,  if  the  last  gesture  has  been  a  folding  move- 
ment, simply  unfold  again  in  inverse  order  (c,  &,  a)  and 
let  the  arm  fall  back  in  a  relaxed  position ;  if  the  ges- 
ture is  an  extended  one,  turn  the  forearm  until  the 
\\  1 1st  is  downward,  "to  earth,"  if  not  already  in  that 
position,  then  relax  the  arm,  still  holding  the  hand  in 
position,  and  sink  the  wrist;  let  the  arm  drop  at  the 
side,  the  wrist  drawing  the  hand  after  it. 

Practise  this  slowly  until  control  is  gained.  Prac- 
tise also  carrying  the  arm  from  side  to  side,  the  hand 
following  the  movement  of  the  arm  in  the  same  way, 
just  as  a  handkerchief  waved  to  and  fro  follows  the 
hand. 

Practise  all  the  gestures  described  in  Lessons 
XXXI.  and  XXXIII.  with  full-arm  movements. 

To  THE  TEACHER: — In  all  gestures  made  with  one  hand  only,  except 
the  very  lightest,  there  is  a  tendency  in  the  less  active  hand  to 
sympathize  with  the  action  of  the  other,  either  by  acting  in  op- 
position, in  less  demonstrative  parallelism,  or  by  taking  an  atti- 
tude expressive  of  the  emotion  that  prompts  the  gesture.  This 
action  of  the  weak  hand  is  called  the  supporting  gesture.  To 
enter  upon  the  study  of  these  gestures  in  detail  would  be  beyond 
the  limits  that  I  have  assigned  myself  in  the  preparation  of  this 
book.  The  supporting  action  will  be  strong  in  proportion  to  the 
strength  of  the  principal  gesture.  Encourage  the  pupils  in  the 


I 
108  THIRTY-SIXTH   tSSSOJf. 

greatest  freedom  of  movement.  If  there  is  genuine  feelinir  he- 
hind  the  gesture,  the  supporting  movement  or  attitude  will  take 
care  of  itself.  See  that  it  does  not  contradict  the  gesture,  and 
at  least  insist  on  a  corresponding  attitude  of  the  hand  if  then 
is  reluctance  on  the  part  of  the  pupil  to  go  further.  The  knowl- 
edge and  ingenuity  of  the  teadur  must  supplement  the  instruc- 
tions given  here  as  eKewherc.  The  voice  and  example  of  a 
good  instructor  are  worth  more  than  any  written  description  of  an 
rcise.  Caution  pupils  airainst  making  too  many  iiesture>  and 
against  extravagant  action.  For  instance,  in  declaration  the  arm- 
may  rise  through  all  degrees  of  altitude  to  a  considerable  angle 
above  the  line  of  the  shoulders,  yet  in  ordinary  expression  an 
angle  of  thirty  to  forty-live  degrees  from  the  perpendicular  is 
amply  sufficient,  and  often,  especially  in  conversation,  the  arm 
hardly  more  than  pivots  so  as  to  bring  the  palm  out.  Teach  your 
scholars  that  a  gesture  is  a  strong  form  of  emphasis,  and  must 
be  reserved  for  a  climax,  and,  except  in  very  light,  trivial  emo- 
tions, must  he  sustained  until  the  end  of  the  sentence  in  which 
it  occurs,  unless  superseded  by  another  action. 


LESSON  XXXVI. 


Oppositions  of  the  Head  and  Arms. 

If  wo  wish  to  be  sure  that  tlio  person  whom  we  ad- 
dress in  Indication  sees  the  object  indicated,  we  look 
back  from  it  to  him,  still  pointing  toward  the  object. 
For  instance,  in  pointing  out  an  object  at  the  ri^lit, 
wr  would  turn  the  head  toward  it ;  but  when  the  arm 
began  to  move  toward  the  object,  the  head  would  begin 
to  turn  back  toward  the  person  addressed.  Wlien  the 
head  and  arm  move  in  the  same  direction,  they  art} 
said  to  have  parallel  motion.  When,  as  described 
above,  the  head  and  arm  move  in  opposite  directions 


OPPOSITIONS  OF  THE  HEAD  AND  ARMS.  109 

at  the  same  time,  they  are  said  to  be  in  opposition,  or 
to  oppose  each  other. 

Law  :  Parallel  movements  should  be  successive, 
opposing  movements  should  be  simultaneous. 

If  the  head  and  arm  move  in  the  same  direction  to- 
gether, the  appearance  to  the  beholder  is  often  very 
ridiculous  and  always  awkward.  "When,  on  the  con- 
trary, opposing  movements  follow  each  other,  the 
action  seems  to  drag,  and  the  harmony  of  the  gesture 
is  destroyed.  The  law  applies  to  the  whole  body. 
When  we  draw  back  as  in  fear,  the  hand  and  arm  go 
toward  the  object ;  when  the  hand  is  drawn  back,  the 
body  advances.  If  there  is  parallel  action,  as  in  greet- 
ing a  friend,  the  body  and  arm  both  advancing,  be 
careful  that  the  movements  are  always  successive,  the 
body  first,  the  arm  succeeding. 

EXERCISE  I. 

Indication  ivith  Opposition  of  Head  and  Arm. 
(Figs.  24,  25.) 

Order  of  Movement. 

First,  the  eye  and  head  turn  toward  the  object,  then 
as  the  arm  begins  to  rise  to  its  position,  or  "  develop," 
as  we  sometimes  say,  the  head  and  eyes  return  to  their 
original  position,  or  if  we  are  addressing  a  particular 
individual,  until  the  gaze  is  fixed  upon  him.  The  arm 
is  fully  developed  just  as  the  eye  and  hand  finish  their 
return  movement,  so  that  both  come  to  rest  at  the 
same  time.  With  folding  movement,  fold  as  the  head 
is  turning  toward  the  object. 


110 


Fio.  34. 


EXERCISE  II. 

Rejection,  nr  Denial     (Figs.  26,  27.) 

Action  of  bead  and  eye  as  in  Indication,  the  arm  in 
front,  folding  it  toward  tho  body  while  the  head  turns 
toward  the  object  rejected.  As  the  head  returns,  the 
arm  moves  outward  at  the  d  if  pushing  BOme- 

thing  away.  This  may  !•»•  ni-acti>L'(l  with  the  »-d^v 
and  with  tlie  jialm.  'I  ne  edge  is  more  graceful,  while 
the  palm  gives  the  im}>r»-ssi(.n  of  greater  stn 
ln-ing  ex«-r(»-d.  In  the  lighter  forms  of  rejection,  the 
arm  hardly  folds  at  all,  l.mt  starts  out  at  once  from  its 
position  at  the  side. 


OPPOSITIONS  OF  THE  HEAD  AND  ARMS.   Ill 


Tier.  26. 

EXERCISE  III. 
Rejection  of  Trifles. 

Rejection  of  trifles  is  made  with  the  weakest  part 
of  the  hand,  i.e.,  the  back,  and  either  outward  or  up- 
ward. The  latter  is  the  more  contemptuous  action. 

In  all  oppositions,  the  degree  of  action  in  the  head 
is  in  direct  proportion  to  that  of  the  arm.  The  head 
inclines  or  pivots  from  the  object  according  to  the 
strength  of  feeling.  The  inclination  of  the  head  is 
less  powerful  than  the  pivot..  In  rejection  of  trifles 
the  action  of  the  head  will  be  slight ;  in  fact,  the  eye 
alone  is  often  sufficient  for  this  gesture, 


THIRTY-SIXTH  LESSON. 


Km.  &. 


KXI.K.  BE   IV. 

Jflrmatio*.      figs,  28,  -J'.i. 

Here  the  action  is  up  and  down  instead  of  outward. 
The  arm  first  folds  as  in  self-indication,  but  without 
brin^in^  tin-  hand  quite  so  near  to  the  body,  while  the 
head  hows  toward  it.  Thru  the  head  rises  to  the 
normal  attitude,  01  U  BYftfl  lifted  in  strong  affirmation, 
while  the  arm  unfolds,  finishing  its  gesture  with  the 
palm  oj>en  toward  the  audience. 

Practise  this  as  well  as  the  preceding  with  three 
degrees  of  empha-:-  ;  1  moderate  ;  r2»  with  consider- 
able energy;  (3)  with  head  uplifted  and  arm  extended 


OPPOSITIONS  OF  THE  HEAD  AND  ARMS.    113 

straight  downward  at  the  front,  with  the  hand  fully 
expanded.  Practise  also  bringing  the  edge  of  the 
hand  instead  of  the  palm  toward  the  audience.  This 
is  definition,  or  the  teacher's  affirmation,  and  is  appro- 
priate to  quiet,  earnest  moods  of  the  mind.  Also  with 
clinched  fist.  This  affirmation  is  appropriate  to  anger, 
defiance,  and  the  like. 


FIG.  31.  Fio.  33. 


EXEECISE  V. 

Assertion.     (Figs.  31,  32.) 

The  head  rises,  the  eye  seeking  heaven,  then  returns 
to  the  audience  white  the  arm  is  lifted, 


114 


77///,''/T-.v/.\T//    LESSON. 


Practise  tliis  with  fnivting^r  pointing  upward  and 
with  ojM-n  palm.  The  former  is  intellectual,  the  latter 
more  emotional,  njn.-u-ln.-art.-J,  >tn>ng. 


Fio.  33. 


Fio.  34. 


Ex:  VI. 

(Figs-  33,  34.) 


The  hands  are  thrust  nut  as  if  to  jmsh  something 
away,  while  the  whole  body  draws  l>;ick  and  turns 
away  as  if  shrinking  1'rmu  some  divadcd  or  displt-asin^ 
object. 

Of  course,  the  strength  of  the  action  will  depend 
upon  the  degree  of  rejuignance.  It  may  vary  from 
playful,  or  pivt«-nd«-d  ivpulskm  to  that  caused  l>y  «-x- 


DIFFICULT  ARTICULATION,  115 

treme  fear.     Remember  to  draw  back  the  hips  more 
than  the  shoulders. 

Practise  in  various  directions  :  in  front,  at  the  sides, 
upward,  and  downward,  keeping  the  eye  fixed  on  the 
object,  and  also  turning  the  face  away  as  if  unable  to 
endure  the  sight. 


LESSON  XXXVII. 


Articulation— Continued.— Difficult  Combinations. 


The  following  list  of  words  and  sentences  contains 
specimens  of  nearly  every  difficult  combination  of  con- 
sonant-sounds that  you  are  likely  to  meet  in  reading. 
Some  are,  of  course,  very  rarely  found,  but  all  should 
be  practised  in  order  to  attain  flexibility  and  accuracy 
in  the  use  of  the  agents  of  articulation. 

Acts,  facts,  lists,  ghosts,  depths,  droop'st,  adopts, 
fifths,  laughst,  hookst,  desks,  satst,  help'st,  twelfths, 
thefts,  milk'st,  halt'st,  limp'st,  attemptst,  want'st, 
thinkst,  warp'st,  dwarf'st,  hurtst,  sixths,  eighths,  texts, 
protects,  stifTst,  sparkl'st,  waken'st,  robb'st,  amidst, 
width,  digg'st,  rav'st,  writh'st,  prob'dst,  hundredths, 
begg'dst,  besieg'dst,  catch'dst,  troubl'st,  trifl'st,  shov'lst, 
kindl'st,  struggl'st,  puzzl'st,  shieldst,  revolv'st,  help'dst, 
trembl'dst,  trifl'dst,  shov'ldst,  involv'dst,  twinkl'dst, 
fondl'dst,  dazzl'dst,  rattl'dst,  sendst,  wak'n'dst,  mad- 


1 1  r,  Til  IRTT  8  /•:  I "  /;  N  Til    I.  ESS  ON. 

d'n'dst,  lighten'dst,  ripen'dst,  hearken'dst,  doom'dst, 
o'erwhelm'dsts,  absorbst,  re^ard'st,  cnrb'dst,  hurl'dst, 
charm\lstjvturn\lst,starY\lst,strrai^th'ns,  strength  Vd, 
wrong'dst,  lengthen'dat,  snoth'dst,  act'st,  lift'st,  melt'st, 
hurt'st,  wanl'st,  shout'st,  tnnch'd,  parch'd,  help'dst, 
bark'dst,  prompt'st,  touc-h'dst,  vattr.-t. 

Put  the  cut  purnpkiii  iu  a  pipkin.  Coop  up  the 
cook.  A  l>i<<  mad  <lo^  Lit  l»ad  Bob.  Keep  the  tippet 
ticket.  Kate  liatt-s  ti^lit  tapes.  Geese  cackle,  cattle 
low,  crows  caw,  cocks  crow.  The  bleak  breeze  blighted 
the  blight  broom  !•]<»>>.. ms.  Dick  dipped  the  tippet 
and  dripped  it.  Gtiddj Kittie's  tawdry  gewgaws.  The 
needy  needlewoman  needn't  wheedle.  TYtch  the  poor 
fellow's  feather  pillow.  A  very  watery  western  Tapor, 
Six  tliick  thistle  sticks.  She,  says  she  shall  sew  a 
sheet.  The  sun  shines  on  the  shop  si^ns.  A  shock- 
ing sottish  set  of  shopmen.  A  shoi't  soft  shot-silk 
sash.  A  silly  shatter-brained  chatterbox.  Fetch  six 
chaises.  She  thrust  it  through  the  thatch.  Thrice  the 
shrew  threw  the  shoe.  The  slow  snail's  slime.  1  snuff 
shopsnntV,  doyoii  Bnuffshopsnuifl  She  sells  seasliells. 
Some  shun  sunshine.  The  sweep's  suitably  sooty 
suit.  A  rural  ruler.  Truly  rural.  Literally  literary. 
Eobert  loudly  rebuked  Richard,  who  ran  lustily  roar- 
ing round  the  lobby.  His  ri^ht  le^  la^ed  in  the  race. 
Amidst  the  mists  with  an^ry  1  toasts  he  thrusts  his 
fists  against  the  posts,  and  still  insists  he  sees  the 
ghosts.  Around  the  rugged  rocks  the  ragged  rascal 
ran.  Peter  Piper  picked  a  peck  of  pickled  peppers. 


DIFFICULT  ARTICULATION.  117 

Theophilus  Thistle,  tlie  successful  Thistle  sifter, 
in  sifting  a  sieve  full  of  unsifted  thistles,  thrust  three 
thousand  thistles  through  the  thick  of  his  thumb  ;  now 
if  Theophilus  Thistle,  the  successful  thistle  sifter, 
in  sifting  a  sieve  full  of  unsifted  thistles,  thrust  three 
thousand  thistles  through  the  thick  of  his  thumb,  see 
that  thou,  in  sifting  a  sieve  full  of  unsifted  thistles, 
thrust  not  three  thousand  thistles  through  the  thick 
of  thy  thumb.  Success  to  the  successful  thistle  sifter. 

My  daine  has  a  lame  tame  crane, 
My  dame  has  a  crane  that  is  tame  ; 
Oh,  pray,  gentle  Jane, 
Let  my  dame's  lame  tame  crane 
Drink  and  come  home  again. 

Laid  in  the  cold  ground  [not  coal  ground].  Half  I 
see  the  panting  spirit  sigh  [not  spirit's  eye].  Be  the 
same  in  thine  own  act  and  valor  as  thou  art  in  desire 
[not  thy  known].  Oh,  the  torment  of  an  ever-meddling 
memory  [not  a  never  meddling].  All  night  it  lay  an 
ice-drop  there  [not  a  nice  drop].  Oh,  studied  deceit 
[not  study].  A  sad  dangler  [not  angler].  Goodness 
centres  in  the  heart  [not  enters].  His  crime  moved 
me  [not  cry].  Chaste  stars  [not  chase  tars].  She 
could  pain  nobody  [not  pay].  Make  clean  our  hearts 
[not  lean].  His  beard  descending  swept  his  aged 
breast  [not  beer].  Did  you  say  ten  minutes  to  wait, 
or  ten  minutes  to  eight  ?  A  sore  eye  saw  I.  Why  y  ? 
Thou  straightest,  fastest  strokes  struck'dst,  Stephen, 


118  THIRTT-BIOHTH  I.K 

To  TIIK  Ti.\<  III:K:  -Many  of  tin-  above  >i-nteiires  have  been  taken 
from  Pro*".  Bell's  excellent  work,  "  The  Principles  of  Elocu- 
tion," to  which  I  am  glad  to  refer  all  teach*  r-  \\  ho  wish  to  be 
abreast  of  the  times  in  our  art.  Be  careful  that  pupils  do  not 
overdo  the  sound  of  *  so  frequent  in  many  of  these  combinations; 
irr  combinations  like  *&,  in  l<i*(#,  jxmte,  etc.,  the  difficulty  is  not 
with  the  «,  but  to  brinu  out  properly  t he  t.  The  .reparation  of 
similar  sounds,  as  of  t\\«»  *'s  in  succession,  can  only  be  effected 
by  an  instant  of  perfect  jaw-relaxation  bet  \vi-rn  'them.  It  is 
taken  for  granted  that  the  teacher  understands  the  actions  of 
the  various  auents  of  articulation  sufficiently  well  to  be  able  to 
point  out  such  technical  e\rniM>  for  overcoming  special  defi- 
ciencies as  may  be  necessary  in  addition  to  those  I  have  given. 


LESSON  XXXVIII, 


Facial  Expression. 


The  forehead,  eyes,  nose  and  mouth  are  the  agents 
of  facial  expression.  Facial  expression  comes  in  or- 
der of  succession  before  ^-stnivs  of  any  part.  The 
face  is  next  the  brain,  and  is  the  thxt  part  to  receive 
impressions  from  it 

A  smooth  FOREHEAD  denotes  calmness,  serenity.  The 
brow  drawn  down  and  contracted  indicates  mental 
concentration,  perplexity,  antagonism,  resistance  to 
pain,  according  to  tin.'  decree  of  contraction.  The 
brow  lifted  indicates  interested  or  eager  attention, 
surprise.  The  brow  lifted  and  contracted  denotes 
sorrow,  grief,  patient  endurance  of  mental  or  physical 
suffering.  The  brow  rises  with  the  "  patient  shrug." 


FACIAL  EXPRESSION.  110 

We  have  already  discussed  the  EYE  in  previous  les- 
sons. 

The  NOSE  has  few  actions,  and  is  not  capable  of 
many  changes.  It  is  the  centre  of  the  face,  and  like 
the  torso,  which  is  the  centre  of  the  body,  must  main* 
tain  a  dignity  commensurate  with  its  position.  The 
nostrils  expand  in  strong  emotions  to  allow  more  air 
.to  enter  the  lungs.  A  large,  open  nostril  is  always  a 
sign  of  strong  vitality  ;  a  pinched  or  contracted  nostril 
denotes  physical  weakness.  One  nostril  drawn  up  in- 
dicates disgust,  contempt;  both  nostrils  drawn  up  is 
the  bearing  of  a  mean,  evil-minded  person. 

The  MOUTH  is  the  most  expressive  feature.  Orators 
have  large  mouths  as  a  rule.  A  small  mouth  shows  a 
delicate,  refined,  but  not  powerful  nature.  We  will 
consider  the  lips  and  lower  jaw,  which  give  the  mouth 
its  expression,  separately. 

Thin  LIPS  are  cold,  unemotional ;  thick,  protruding 
lips  are  sensual,  coarse.  The  lips  drawn  in  indicate 
concentration,  primness,  severity ;  protruded  slightly 
they  indicate  affection;  they  are  protruded  and  con- 
tractedj  much  as  Li  whistling,  when  we  are  exercising 
the  judgment,  discrimination.  The  pout  is  a  rejection 
by  the  lips ;  in  great  disgust  we  act  precisely  as  if  we 
were  trying  to  gat  rid  of  a  disagreeable  substance  in 
the  mouth.  The  lips  drawn  down  at  the  corners  indi- 
cate sadness,  disappointment,  melancholy  ;  the  corners 
are  drawn  up  in  pleasurable  emotions.  One  side  of 


r.<-  TUiKTY-r.itnrni  LS88C  v. 

the  lip  drawn  up  corresponds  to  and  accompanies  the, 
contemptuous  action  <>f  tin-  i 

A    strong    I.OWKI:  .TAW    shows    strength,    liri 
character;  a  receding  jaw,  weakness.     The  jaw  is  set 
firmly  in  self  •control,  resistance,  antagonism  ;  it  relaxes 

in  pleasure,  and  opens  in  admiration,  surprise,  fear 
and  terror.  It  lianas  lifelessly  in  weakness,  prostra- 
tion, imbecility,  despair.  The  jaw  advances  in  threat- 
ening, aii^er,  hatred. 

()hs«.]-\e  that  almost  all  the  conditions  described  in 
this  h-ssoii  may  he  hearings,  indicating  various  types 
of  character.  Do  not  lie  too  hasty  in  judging  your  as- 
sociate by  these  hints  ;  there  are  somet'mes  strange 
exceptioi  nrral  rules.  Socrates,  for  instance, 

one  of  the  greatest  and  noblest  of  all  men,  was  in  ap- 
pearance almost  repulsive.  We  may  do  much  to  over- 
come natural  defects  l>y  the  e\eivUe  of  the  will,  and 
many  men  have  conquered  inborn  tendencies  of  the 
most  unlovely  character  while,  still  retaining  the 
stamp  that  nature  placed  on  them  at  birth.  So,  many 
liaturallv  symmetrical  natures  have  allowed  themselves 
to  be  warped  out  of  all  true  moral  poise,  and  yet  to 
the  superficial  observer  have  lost  little  of  their  exter- 
nal beauty.  llemember  that  "'tis  the  mind  that 
makes  the  body  rich*'  or  pool-,  as  tl  naj  be. 

To  Tin:  TKACIIEK:  —  The  pupils  should  work  out  tin-  facial  ex- 
pression of  a  iriven  emotion,  say  suipri-c,  indicating  the  ex- 
pression <>f  cadi  part,  then  adding  the  proper  itttiUid' 
actions  of  the  torso  anil  limhs.  More  advanced  pupils  may 
employ  themselves  \\ith  complex  emotions,  such  as  surprise  with 
hatred,  with  fear,  with  joy;' joy  with  humility,  allectiou,  arro- 


DESCRIPTION.  121 

gance,  and  the  almost  infinite  number  of  similar  combinations. 
My  purpose  in  reserving  the  consideration  of  this  subject  until 
the  last  (and,  indeed,  1  had  some  doubts  as  to  the  advisability 
of  saying  as  much  as  I  have  on  the  subject)  is  that  untrained 
pupils  are  very  apt  to  overdo  facial  expression  if  they  undertake 
it  at  all  in  the  beginning.  I  have  felt  that  these  subtile  manifes- 
tations would  develop  themselves  naturally  in  connection  with 
the  broader  phases  of  gesture  and  attitude  previously  discussed, 
provided  those  have  been  accompanied  by  the  proper  inward 
impulse,  without  which  no  expression,  however  studied,  seems 
spontaneous.  I  have  inserted  this  matter  at  the  request  of  sev- 
t-ral  teachers  whose  experience  has  differed  from  mine  in  this 
respect,  and  who  find  that  many  of  their  pupils  have  no  facial 
rxprr  sion  at  all.  But  I  implore  all  teachers  to  be  exceedingly 
careful  to  discourage  the  writhings  of  the  lips,  scowls,  affected 
elevations  of  the  brows,  and  tine- frenzy-rolling  eyes,  with  which 
so  many  would-be-dramatic  readers  afilict  their  unfortunate  au- 
diences. 


LESSON  XXXIX. 


Description 

Pantomime  has  another  office  besides  expressing 
emotions ;  it  is  very  useful  in  assisting  us  to  convey 
vivid  impressions  of  what  we  may  be  describing.  This 
function  is  called  imitation  or  description.  Gestures 
of  indication  are  descriptive  in  their  character.  We 
convey  impressions  of  great  size,  volume,  majesty,  by 
broad  expansion  of  the  arms ;  we  bring  the  tips  of 
the  fingers  of  both  hands  near  together  to  describe 
small,  insignificant  objects ;  when  using  one  hand, 
the  thumb  touching  the  little  finger  suggests  very  tiny 
objects. 


THIRTY-NINTH   LESSON. 

Actions  that  we  call  functional,  like-  pushing,  pull- 
'iammerini:,  twisting,  tin-  action  of  the  hand  in 
writing,  playing  an  instrument,  waving  a  handker- 
chief, and  a  hundred  others,  are  used  imitativelv. 

The  tremolo  of  the  hand — that  is,  a  rapid  movement 

Bta  many  similar  tremu- 
lous movements  in  nature,  the  ripple  of  water,  of  sim- 
shine,  tlie  movement  of  the  leaves.  The  tremolo 
should  be  verv  delicate,  and  requires  much  tVxibilitv 
at  the  wri-t. 

All  emotional  manifestations  are  Used  imitathely 
•when  we  describe  an  emotion  in  another.  Descrip- 
tive fcctioDfl  of  all  kinds  must  not  lie  overdone.  JJroad 
iption  is  allowable  only  in  comedy.  In  serious 
readi  ather  than  imitate:  the  more  delicate 

the  si  ::  the  more  artistic  will  be  your  expres- 

sion. 

The  voice  aNo  has  an  imitative  function.  All  re- 
productions of  peculiar  qualities,  as  of  an  old  man's 
,  nasal,  throaty,  or  tlat  tones,  the  vocal  character- 
istic- of  diti'erent  nations  and  races,  are  vocal  imita- 
lions.  The  volume  of  the  voice  i-  sometimes  made 
use  of  imitativelv,  the  tone  becoming  more  sonorous 
in  describing  grandeur,  majesty,  ami  more  than  usu- 
ally delicate  in  suLrur'^tin.ur  delicate  thin^.  \\'.-  often 
hear  vocal  imitations  of  various  sounds  in  nature,  the 
calls  of  animals,  chirping  of  birds,  the  vibration  of 
bells,  and  the  like.  Use  imitation  sparingly. 

It  is  very  essential   in  description,  as,  indeed,  in  all 


DESCRIPTION.  123 

recitation,  that  you  yourself  see  vividly  the  picture  or 
scene  that  you  wish  to  portray.  Cultivate  your  im- 
agination until  each  object  and  person  in  your  story 
appears  as  clearly  before  your  mind's  eye  as  if  you 
had  at  some  time  actually  seen  them.  You  should  be 
able  to  describe  the  dress  and  peculiarities  of  appear- 
ance of  a  character  even  in  many  details  that  the  au- 
thor  lias  not  suggested,  and  fill  out  the  barest  outline 
of  a  scene  with  mountains,  trees,  houses,  furniture,  or 
whatever  would  be  appropriate  to  it.  Have,  too,  a 
definite  locality  for  everything  in  your  picture.  Do 
not  place  a  thing  at  your  left  that  a  moment  before 
was  at  your  right,  nor  one  at  your  feet  that  was  just 
now  a  hundred  yards  away.  Bear  in  mind,  however, 
that  whenever  you,  as  spectator,  are  supposed  to 
change  your  position,  everything  in  the  picture  also 
changes  its  position  relative  to  you.  In  the  opening 
lines  of  "  Barbara  Frietchie"  the  spectator  describes 
the  village  of  Frederick  and  its  surroundings  from  an 
imaginary  distance  of  several  miles,  but  soon  he  finds 
himself  in  the  village  itself. 

Generally  when  one  person  takes  two  characters,  as 
would  be  done  in  reciting  the  tent  scene  in  "  Julius 
Caesar,"  it  is  customary  to  indicate  the  change  from 
one  character  to  the  other  by  a  change  in  the  direction 
of  attention  ;  that  is,  if  Brutus  is  speaking  toward  the 
left,  Cassius,  who  is  supposed  to  be  on  that  side  of  the 
platform,  would  speak,  when  his  turn  came,  toward 
the  right.  In  impersonation,  as  in  reciting  dialogues, 


124  rnVTlKTH    LESSON. 

we  do  not  sp.-ak  to  the  audience  but  to  the  imaginary 
Brutus  or  Cassias,  a  little  t«>  one  side.  In  descriptive 
recitation,  narrative,  or  addivss,  we  keep  the  attention 
directed  toward  the  audience,  simply  glancing  at  the 
objects  or  persons  described, and  looking  back  at  once 
toward  the  audience,  but  sustaining  the  gesture,  if  any 
,  until  the  verbal  description  is  complete.  We 
said  that  an  attitude  of  the  body  should  always 
be  sustained  until  the  emotion  prompting  it  is  super- 
b\  another  emotion;  so  a  gesture,  which,  if 
sustained  at  all,  becomes  at  <>nce  an  attitude,  is  sub- 
jeet  to  the  same  law. 

Be  careful  to  locate  objects  and   persons  at  the  >ide 

rather  than  directly  in  front,  where  your  audience  is. 

An  angle  of  from  thirty  to  forty-five  degree  -   to  the 

right  or  left  is  usually  the  most  convenient  one  for 

iptive  purp- 


LESSON  XL. 


Final  Hints  on  Attitudes  and  Bearings. 

The  FEET  are  near  together  in  timidity  and  weak- 
ness ;  they  are  separated  in  active,  strong  conditions. 

The  KNKKS  are  relaxed  in  submission,  weakness,  fear, 
horror  ;  they  are  normally  firm  in  normal  conditions  ; 
they  stiffen  in  defiance. 

The  HIPS  thrown  forward  indicate  pomposity,  a  ITU- 


ATTITUDES  AND  BEARINGS. 


125 


gance,  vulgarity  ;  drawn  back  they  indicate  humility, 
timidity. 

The  CHEST  expanded  denotes  strength,  activity,  no- 
bility of  mind  ;  contracted,  indicates  weakness,  either 
<>f  soul  or  of  body,  or  of  both. 

The  attitudes  of  the  HEAD  have  been  fully  discussed 
in  previous  lessons. 

Tim  ARMS,  in  repose,  fall  naturally  at  the  sides 
when  standing,  or  in  the  lap  when  sitting.  The  hands 
may  also  be  carelessly  locked  together  in  front,  or 
one  or  both  arms  allowed  to  rest  easily  on  the  read- 
ing-desk, table,  or  arm  of  the*  chair. 
The  arms  are  folded  in  front  in  concen- 
tnition  of  thought  or  emotion,  control 
of  passion  ;  one  or  both  are  behind  the 
back  in  concealment,  reflection.  If  you 
fold  the  arms  easily  and  then  raise  the 
forearm  that  is  on  the  outside,  so  that 
the  hand  is  at  the  lips,  or  the  chin  or 
side  of  the  cheek  rest  upon  it,  you 
have  another  attitude  of  reflection  or 
concentration  of  mind  that  is  very 
common  (Fig.  35).  Practise  going  into 
this  attitude  without  the  preliminary 
fold  of  the  arms,  as  soon  as  you  have 
acquired  the  correct  position. 

The  ELBOW  turned  out  indicates  arrogance,  self-as- 
sertion, conceit;  with  the  hands  on  the  hips  these 
indications  are  very  marked  and  generally  vulgar, 


FIG.  35. 


126  FORTIETH  LESS<>\. 

The  elbow  drawn  iii  indicates  weakness,  timidity, 
fear. 

The  normal  attitude  of  the  HAND  is  that  which  it  as- 
sumes when  at  rest.  The  hand  expands  gently  in  af- 
fectionate expressions,  as  if  to  caress  someone.  It 
opens  \\ide  in  astonishment,  admiration,  fear  and  re- 
])iilsion.  The  fingers  c«  -ntract  in  hatred,  jealousy,  and 
like  passions,  as  if  von  would  like  to  tear  the  tiesh  of 
your  antagonist.  The  hand  is  clinched  firmly  in  con- 
centration of  mind  or  passion,  in  rage.  The  fingers 
work  spasmodically  when  there  is  an  attempt  to  con- 
ceal strong  passions  that  overpower  the  will. 

The  BODY  is  In-lit  and  passive  in  weakness,  submis- 
sion, meanness,  old  air*  ;  it  is  erect  and  active  in  all 
vigorous  conditions  of  mind  or  body. 

•  rf  Attitudes.     III. 

An  attitude  remains  unchanged  until  the  emotion 
that  caused  it  is  superseded  or  modified  by  a  new 
emotion. 

Notice  that  one  attitude  of  a  particular  part,  for  ex- 
ample, the  clinched  rist,  often  stands  for  <jnite  differ- 
ent conditions.  These  conditions  are  shown  by  other 
parts  of  the  body.  For  instance,  the  clinched  fist 
with  the  body  in  an  attitude  of  reflection— That  is,  with 
tlie  weight  on  the  retired  foot,  head  bowed  and  thought- 
ful expression  of  the  face — would  indicate  strong  men- 
tal concentration,  while  the  same  fist  with  the  body 
expressing  antagonism  would  convey  the  impression 


ATTITUDES  AND  BEARINGS,  137 

that  someone  in  our  vicinity  was  in  danger  of  a  bruised 
eye  at  least. 

Try  to  have  harmony  everywhere  in  your  attitudes; 
do  not  let  one  part  of  the  body  contradict  another. 

To  THE  TEACHER:— The  practice  of  dialogues  is  a  very  useful 
means  of  giving  pupils  confidence  and  ease  before  an  audi- 
ence. The  study  of  the  bearings  and  attitudes  suitable  to  dif- 
ferent characters'  in  a  scene  or  dialogue  is  also  excellent  mental 
discipline,  as  it  cultivates  the  powers  of  observation  and  analy- 
sis. The  few  hints  given  above,  together  with  previous  instruc- 
tion in  attitude,  gesture,  and  facial  expression,  will  be  found  to 
suggest  a  very  wide  range  of  expression  in  characterization.  No 
attempt  has  been  made  in  this  book  to  cover  the  whole  ground 
in  any  department  of  oratory.  Especially  is  this  true  of  pan- 
tomimic expression,  a  field  that  has  been  very  thoroughly  ex- 
plored of  late  years,  and  concerning  which  volumes  might  be 
written.  If  it  seems,  nevertheless,  that  an  undue  proportion  of 
our  work  has  been  devoted  to  pantomime  and  physical  prepara- 
tion for  it,  it  should  be  borne  in  mind  that  the  relation  between 
pantomimic  and  vocal  expression  is  much  closer  than  is  com- 
monly supposed,  and  that  effective  action  inevitably  reacts  in 
favor  of  effective  speech,  and  is  more  easily  studied  and 
criticised,  since  the  theory  of  vocal  expression,  spite  of  all  our 
gains  in  tin-  last  twenty  years,  is  far  from  the  perfection  that 
pantomime  has  attained.  The  laws  of  the  one  apply  to  the  other, 
to  be  sure  ;  but  their  application  is  much  more  difficult  in  the 
department  of  vocal  expression.  Freedom  of  action  means 
freedom  of  speech  in  oratory  as  in  politics. 


THIRD   EDITION. 


DELSARTE  SYSTEM  OF  ORATORY. 

CONTAINING  THE   UNABRIDGED  WORKS  OF 

M.  1'Abbe  Delaumosne  and  Mme.  Angeliqne  Arnaud 

(PUPILS  OF  DELSARTE),  AND  THE 

LITERARY  REMAINS  OF  FRANCOIS  DELSARTE. 


WITH  THE  FAMOUS 


of  Angel?"  and  "[Start  of  J|an." 

Printed  in  Colors  as  Drawn  by  Delsarte. 


These  writings,  now  given  to  the  public  for  the  first  time,  were  lately  purchased  of  Mme. 
DELSARTE,  with  the  understanding  that  they  were  all  the  manuscripts  left  by  her  illustri- 
ous husband  They  are  published  in  the  same  condition  DELSARTE  left  them  in,  thereby 
affording  the  best  means  of  becoming  acquainted  with  the  thoughts  and  methods  of  the 
unpai  all.  1«  .1  master  of  the  science  and  the  art  of  expression.  In  them  is  found  THE  GEN- 
l  INK  DF.LS.MITK  SYSTKM  unmix. -d  with  tht- \i,-\vs  and  purposes  of  other  persons,  but 
presented  juM  as  the  maM.-r  .•xp.miid.-d  it. 

AN  EXTRACT  FROM  DELSARTE'S  LAST  LETTER  TO  THE  KINO  OF  HANOVER 

IS  A  FITTING  PREFACE : 

''I  am  at  this  moment  meditating  a  book,  singular  for  more  than  one  reason,  whose 
form  will  be  no  less  novel  than  its  contents.  The  title  is,  *  The  History  of  an  Idea  Pursued 
for  Forty  Years/  It  will  be  my  task  to  connect,  and  condense  into  a  single  narrative,  all  the 
circumstances  of  my  life,  which  had  as  logical  consequences  the  numerous  discoveries  which 
it  has  been  granted  me  to  follow  up.  I  know  not  what  fato  is  reserved  for  this  book,  but, 
however  it  may  be,  I  crave,  sire,  your  majesty's  permission  to  offer  the  dedication  to  you." 


A  BOOK!  OK  NEARLY  GOO 
of  Great  Value  to  all  Delsarteans,  Teachers  of  Elocution,  Public  Speakers,  Singers, 
Actors,  Sculptors,  Painters,  Psychologists,  Theologians,  Scholars  in 
any  Department  of  Science,  Art,  and  Thought 

Many  Charts,  Diagrams,  Cuts,  etc.  Teacner  s  price,  82.5O  net.  NOT  FOR  SALE  AT 
BGcm-'-cTORES.  Send  draft  on  New  York,  postal  order  or  registered  letter  direct  to  the 
publisher, 

EDGAR  S.  WERNER, 

28  West  23d  Street,  NEW  YORK. 


E-TABUSHED    1879. 


WERNER'S  VOICE  MAGAZINE: 

(Formerly   "TnK  Y 

A  Monthly  Journal  for  those  U'/io  Read,  H7io  Speak, 
and   WJio    Sing. 

For   Teacher  and  Pupil;    Reader  and  Singer;   Lecturer  and  Preacher; 

Lawyer  and  Actor;  Legislator  and   Physician;  Parent  and 

Speech-Sufferer  ;    Theorist    and    Practician. 

A  Guide  for  the  Restoring,  the  Cultivating  and  the  Preserving  of  the  Voice 

FOR  SPEECH  AND  FOR   SONG. 

Respiration,    Phonation,    Modulation,   Intonation,   Articulation,   Enunci- 
ation, Pronunciation,  Conversation,  Gesticulation,    Personation. 


WERNER'S  VOICE  MAGAZINE 

Has  the  Leading  Specialists  of  the  World  for  its  Contributors. 


It  is  the  press  exponent  of  the  human  voice  in  its  manifold  phases; 
treats  of  its  uses  and  capabilities  ;  gives  directions  f<>r  its  cultivation  and 
management,  whether  in  singing,  preaching,  lecturing,  reading,  or 
conversing;  points  out  the  way  to  remedy  its  bad  habits  or  defects  and 
to  restore  it  to  healthful  action,  organic  and  functional. 

It  is  a  journal  which  discusses  pulpit  and  secular  oratory  ;  the  meth- 
ods of  teaching  reading  and  declamation  in  schools  ;  the  various 
systems  of  cultivating  the  voice  for  singing  ;  elocution;  the  art  of  con- 
versation;  and,  in  fact,  everything  pertaining  to  the  speaking  and 
the  singing  voice. 


Published  Monthly  at  $1.50  a  Year  in  Advance;  Single  Copy,  20  cents. 


Address  the  Editor  and  Proprietor, 

EDGAR   S.   WERNER, 
28  West  23d  Street,  New  York. 


DELSARTE  '"EXPRESSION 

By  <- 1: M; v 1 1: \  i;  vn:nm  \>. 


PRESENTED  FOR  THE  FIRST  TIME  IN  A  WAY 

PLAIN,  PRACTICAL,  HELPFUL. 

*  * 

*  *  Designed  Especially  for  a  Text-Book  and  for  Self-Instruction,  *  * 

* 

A  BOOK  OF  /ESTHETIC  PHYSICAL  TRAINING  FOR  ALL  PER- 
SONS OF  CULTURE. 

AND  PARTICULARLY  FOR  THE 

Elocutionist,  Orator,  Actor,  Public  Reader,  Law- 
yer, Preacher,  Painter,  Sculptor,  and  all 
Others  who  wish  to  give  Expres- 
sion to  their  Bodies  or  to 
their  Work. 

A  uthor  and  Publisher  have  spared  neither  labor  nor  expense  in  their  endeavor  to  produce 
a  work  that  shall  satisfy  the  widespread  desire  for  something  tangible  and  serviceable  on 
the  Delsarte  System.  Every  exercise  has  been  subjected  to  repeated  Personal  test,  and  great 
care  given  to  the  description  of  attitude  and  movement* 

The  writings  and  teachings  of  Delaumosne,  Arnaud  and  Mackaye  (pupils  of  Delsarte)  the 
author  has  supplemented  with  years  of  study  under  other  masters  —  in  different  capitals,  at  the 
Paris  Conservatoire,  etc., —  and  has  drawn  from  various  additional  sources,  ancient  and  mod- 
ern. She  has  taken  all  they  had  to  give,  pruning,  analyzing,  comparing,  adapting,  formula- 
ting, constructing,  and  testing  theories,  principles,  rules  and  methods  by  years  of  personal, 
practical  experience  as  teacher,  elocutionist,  public  reader,  and  actress.  So  far  as  the  Delsarte 
System  is  known,  so  far  as  it  can  be  reduced  to  definitions  and  exercises,  both  author  and  pub- 
lisher do  now  place  this  book  before  the  public  as  the  best  that  can  be  written  ;  trusting  that, 
besides  being  a  guide  and  help  to  the  oratorical  and  dramatic  student,  it  will  contribute  toward 
rescuing  the  life-work  of  Francois  Delsarte  from  the  threatening  oblivion  and  from  the  misun- 
derstanding, mysticism  and  contempt  into  which  it  has  fallen. 

%*  ***  *** 


Delsarte's  gymnastics  differ 
from  others  in  that  they  are  not 
mechanical.    Each  has  a  men- 
ial, emotional,  aesthetic  value 
and  intent.  No  exercise  is  prac- 
ticed simply  for  the   physical 
result,  but  for  the  purpose  of 
developing    body,  mind    and 
soul,  and  harmonizing  their  re- 
ciprocal   relations,    influences 
and  effects. 

By  a  happy,  judicious  ming- 
ling of  philosophy  and  drill  ex- 
ercises, the  author  has  avoided 
making    the   book    either   'oo 
metaphysical  or  too  mechani- 
cal.    Both  the  reasoning  stu- 
dent and  the  practical  student 
will  be  satisfied.     Every  g  m- 
nastic  has  its  philosophical  ex- 
planation,   every    principle  its 
physical  application. 

The  book  is  arranged  in  divk 
sions  and  lessons  ;   with  head- 
ings, sub-headings,    numbered 
paragraphs,      the     gymnastics 
grouped  and  classified,  type  of 
various  sizes  and  differently  dis- 
played, an  order  of  exercises  f'.  r 
systematic  practice  and   blank 
pages  for  explanations  and  re- 
marks an  exhaustive  index  ;  it 
is  well  suited  for  class-work. 

SIXTEEN   CHARTS   (drawn  expressly  tor  this  book  from  living  models}  ;   NINETEEN 
SETS  OF  AESTHETIC  GYMNASTICS.  INCLUDING  DECOMPOSING   EX- 

ERCISES,    RECOMPOSING    EXERCISES,    HARMONIC   POISE   OF 

BEARING,  A  GAMUT  OF  EXPRESSION  IN  PANTOMIME, 

SPIRAL  MOVEMENT,  FEATHER  MOVEMENT,  ETC. 

Cloth,    $3.OO,   postpaid. 

Address  the  Publisher,  EDGAR  S.  WERNER, 

28  West  23d  Street,  New  York. 


THIRTY   ELOCUTION  LESSON'S  TOR  *1.25. 

EMMA     DUNNING     BANKQ'S 

Original    Recitations  with    Lesson-Talks. 


These  Sele«-t  lot  is  were  Written  Especially  for  Recitation,  and  afford  Excellent 
Opportunities  for  Poses.  Bird-Tones  and  other  Vocal  Effects. 

The  pupil  is  not  bothered  with  arbitrary  rules,  but  is  taught  in  few  and  plain  words  the 

essential  points  of  the  piece  he  is  learning,  so  that  every  recitation  with  its 

lesson-talk  is  a  most  valuable  lesson  in  elocution. 

•elcIST   6F 

AUNT  RTloDY'S  LREAM.-Yankee  dialect 
of  an  old  woman  who.  having  had  a 

theological   controversy  with    a    deacon, 

dreams  that  sh.-g.--s  to  heaven  and  tin. Is 

that   the  various  se.-ts  are  simply  doors 

that  all  open  into  t  he  same  heaven.    Cos- 
tume : 
MONEY   MCSK.-Poem  by  Bayard  Taylor. 

Lesson-Talk  by  Mrs.  Banks.— Humorousac- 

countof  a  country  dance,  affording  oppor- 
tunity for  dance-steps.     M  > 
THE   MoT  HE  Its  EAST;  -Story 

of  twins,  one  of  whom  loses  his  arm  in  sav- 
ing the  other  from  a  mad  dog 

ward  fall  in  love  with  the  same  girl,  when 

the  one-arme  lone  kills  the  other 

he  thinks  so — but  he  wakes  up  to  find  it  a 

dream,  and  yields  th»-  girl  to  IPS  broth. -r. 
A  QUART  OF  MILK.     Dutch  dialect  story 

of  a  deaf  old  woman  who  hailsa  milkman. 

and  he,  mistakii../  •  •  umi>et   fora 

milk-can,  pours  the  milk  in  it.    Humorous. 
VAN    BIBBER'S    ROCK.— A   man  pursued 

bv  Indians  jumps  from  a  high  rock  into 

the  water,  'and  is  rescued   by  his  wife. 
ALINK'S  LoYK  SoNi;. -A  courting  scene, 

introducing   singing  ;    music    given.      Co- 

qu.-tti>h,  and  specially  suitable  for  encores. 
PRINCE    ERIC'S  CHRIST   M.\II».-    ' 

f.-rs  his  hand  to  her  who  >ends  the  fairest 

lilies  on  Easter  I>ay.     Knowing  the  skill  of 

Lady  Constance,  he  is  sure  of  her  success. 

A  plot  results  in  her  supposed  death,  and 

she.    covered    with  lilies,    is    about    to   be 

buried,  but   is  restored  to  life. 
RITHIES    EAITH    IN    PRAYER— A  little 

girl  buries  her  doll,  and  pravs  for 

one  and  gets  it.    Suitable  to  be  : 

before  children. 

<;RANI>MA    ROBBINGS    TEMPI; 

MISSION.  A  stirring  temperance  recita- 
tion, introducing  a  prayer.  Grandma 
Robbins  is  a  host  in  herself,  and  the  char- 
acter of  Charlie  appeals  to  every  one. 
Pathetic  with  a  happy  ending. 


IN  THE  DARK.-Humorous 
Irish  dialect.  Imi>ersonationof  both  male 
and  female  \ojfes.  Coquettish,  merrj, 
and  sure  to  please. 

:K  LANES  MARRIAGE.-Story  of 
runaway  lovers  who,  pursued  by  her 
father,  get  marri.  <1  on  the  train. 

THE  SoEMEK'S  Joy  -Recitation  similar 

Musk  "  with  music.   Extremely 

popular  :  Introduces  a  girl  first  as  a  child, 

is  the  woman  who  becomes  instead 

of  the  soldier's  a  husband's  joy. 

A  LEciENDoKRosKSUNlM 
supp  -ianced  to  he  dying  in  a 

distant  place.  ^   happily  surprise,  i 
tering  the  church  on   Ri.se  Sunday  to  find 
h.-r  there  fully  rest. .re  1  to  health. 

KEYING  JIM'S  LAST  LEAP.  A  pursued 
criminal,  who.  in  return  for  kindi 

own  him.  rescues  a  little  girl  from  a 
burning  building  and  loses  his  life. 

BRIIM  JET'S  MISSION  .in;.- -Irish  dialect 
recitation,  suited  tomi»ionary  gatherings. 

DOTB   CHRISTMAS;    < -R    THE    - 

HAT.  — A  ( '!in-tina>  tempera- 
Kin.-  opportunity  for  characteri/at , 
suitable  for  church,  parlor  or  stage. 

LATRKAME:  THE  MARBLE  i'REAM  - 
A  Statue  costume  recitation  on  the  style 
of  "Pygmalion and  (ialatea."  Introducing 
music  ;  dramatic. 

oNKTHANiYS<;lYIN<;  DAYoFT  tt 

of  a  young  frontiersman,  who.  on 
returning    home  through    the    W" 
night,  is  attacked  l,\-  \\ 

MKIN    KATRINE'S    BRfDHER     II 

Humorous  l>utch  dialect.  Yery  funny 
story  and  situations.  Suitable  for  gentle- 
men. 

PRINCESS  IMRA  AND  THE  «;<>ATHERH- 
Story  of  a  prince,  who.  disguised  as  agoat 
herd,  wins  a  princess.  Has  bell  ' 


4      f&~  See  next  page  for  conclusion  of  this  list. 


Nicely  printed  and  bound,  Sl.'i.'..   postpaid.     Teachers'  price  &1.1O.   by   mail. 
Address  the  publish*  r, 

EDGAR  S.   WERNER,  28   HVrf  23d  St.,  New  Yorh. 


Elocutionary  Studies  #  Sew  Recitations, 

By  Mrs.   ANNA  RANOALL-DIEHL,, 

THE  EMINENT  TEACHER,  READER,  AND  AUTHOR. 


A  Common-Sense  and  Practical  Method  of  Teaching  Reading,  Recita- 
tion, and  Declamation. 
Selections   Analyzed   and    Explained.          Directions  for  Costuming. 

A  Lanjc   Vtirii'ty  of  Entirely  New  and  Original  Pieces  Suitable  for  all 

Occasions. 


Tliis  book  meets  the  wants  of  nearly  every  class.  There  are  dramatic  selections  of 
the  highest  order  for  the  professional  and  amateur  reciter  ;  there  are  selections  for  all  sorts 
and  occasions, — the  platform,  drawing-room,  Sunday-school,  temperance  meetings,  labor 
mc.-tings,  iv form  clubs,  anniversaries  ;  there  are  school  declamations,  and  a  few  things  for 
very  little  children. 

It  is  more  than  a  collection  of  new  pieces,  being  a  valuable  class  drill-book  in 
elocution,  and  is  eminently  suited  for  school-work.  With  its  analysis  of  pieces,  its  hints  and 
directions  for  reading,  it  is  an  indispensable  vade-mecum  to  the  student  and  the  teacher 
of  elocution. 

Flexible  Cloth,  6O  Cts.;  Paper,  35  Cts.,  postpaid. 
Address  the  Publisher,      EDGAR  S.  WERNER,  28  West  23d  St.,  New  York. 


Ms!  of  EMMA  DUNNING  BANKS'S  Recitations  concluded 
from  preceding  page. 


A  K'  > MAN  VALENTINE.— A  Roman  maiden 
whose  name  is  drawn  on  St.  Valentine's 
I  >u\  by  an  objectionable  suitor  and  by  her 
real  lover,  tin-  ea.se  being  decided  by  the 
emperor  giving  In-r  to  t  lie  man  that  does 
the  most  valiant  de.-d.  The  true  lover 
wins.  Can  be  given  in  Roman  costume. 

1  >  I A  M  OND  CUT  DIAMOND.  -Disguised  as  a 
waiting-maid  a  society  belle  and  heiress 
meets  her  lover,  who  is  supposed  to  be  an 
humble  boatman.  The  well-known  ballad 
"Twickenham  Ferry"  is  introduced  at 
intervals  with  line  effect.  At  the  denoue- 
ment the  disguises  were  rendered  useless, 
eaeli  knowing  the  other's  true  character 
and  station  all  the  time. 

THK  KLF-CHILD.— Poem  by  James  Whit- 
comh  Kiley  ;  Lesson-Talk  by  Mrs.  Banks. 
This  most  successful  recitation  is  a  good 
st  udy  f<  >r  childish  voice  in  characterization. 

TH  K  PRIDE  OF  BATTERY  B.-Poem  by  F. 
H.  (iossaway,  with  Lesson-Talk  by  Mrs. 
Banks.  In  the  civil  war,  a  little  girl  picked 
up  by  the  Confederates,  hearing  that  they 
have  no  tobacco,  steals  through  the  lines 
to  the  Federals,  who  upon  hearing  her 
story  load  her  with  tobacco  and  send  her 
safely  back. 

KMMA  DUNNING  BANKS'S  MEDLEY.— A 
country  girl  becomes  a  successful  actress. 
Yankee,  Dutch,  Negro  and  Irish  dialect, 
with  a  scene  from  "  Leah  the  Forsaken  " 
and  from  "  London  Assurance,"  with  bird- 
tones  and  baby  cries. 


TWO  THANKSGIVING  DANCES.— Two 
lovers  quarrel  at  a  Thanksgiving  ball  and 
part.  Ten  years  later  they  meet  by 
chance  at  another  Thanksgiving  party  and 
make  up.  On  the  style  of  ' '  Money  Musk ' ' 
and  "Soldier's  Joy,"  introducing  music 
and  dance-calls.  Music  given. 

A  RUSSIAN  CHRISTMAS.— Represents  an 
ice-festival  and  the  plot  of  a  jealous  lover, 
first  to  kill  his  rival  on  the  ice  and  then  to 
have  him  banished  to  Siberia  on  a  charge 
of  treason.  Ends  happily. 


THE  OLD,  OLD  STORY.-Christmas  recita- 
tion, telling  the  story  of  the  birth  of  Christ. 
Not  dramatic.  Very  suitable  for  Sunday- 
school  entertainments. 

HOW  CONGRESS  FOUGHT  FOR  SHERI- 
DAN.—A  dramatic  poem,  describing  the 
scenes  in  Congress  during  the  passage  of 
the  bill  creating  Sheridan  General  of  the 
Army.  Also  describes  scenes  at  Sheridan's 
bedside  while  he  awaits  the  action  of 
Congress,  and  the  scene  when  his  com- 
mission is  given  him.  Appropriate  for  all 
patriotic  occasions. 

THE  SPINNING-WHEEL  SONG.— Poem  by 
John  F.  Waller;  Lesson-Talk  by  Mrs. 
Banks,  giving  full  directions  for  spinning 
effects,  and  introducing  airs  from  "Robin 
Adair''  and  "Comin'  thro1  the  Rye." 
Also  opportunity  for  old  woman  imper- 
sonation. Story  of  a  girl  who  spins  her 
•grandmother  asleep,  and  then  takes  a 
stroll  with  her  lover. 


Wtmtcr's 

READINGS  AND  RECITATIONS. 

No.  1. 
ENcil-ISH    CLASSICS. 

COMPILED  ANI>  ARRAV,M>  r.y  SARA  SIGOURNEY  RICE. 


CONTENTS. 


.   Duke  of  <;ueM.  r>.    <   ,\ .  N  MERE- 

\  <h -n  I  n  re.    In.      A  I:     ! 

Ann    Kolioart   ami    l..,r,l    I  R-nil- 

"ortli.    liitertien    ll-t  ur.-n.      >   orr. 
Armaila.    MM.      M  ;.\v. 

V>  liner's    H-l.l.       \  i 

Bemr's   Daiik'hler  ..f    i:.  ln;,ll    (,r*-en.  The. 

Ituililiiik'ot Hi.-  II. MIS,-.  Hi,..    <       •      MACKAV. 

I  h.irlott-   <  ..r.l.i  > 

Hiurrli   i-t'    I'.i.ui.     I  In-. 

liinstane-    •  !••    llrl.-rl).       \\         IHR    SCOTT. 

i  >.u  ut    vli.rrt  mul   Fair  Itotalif.     Scorr. 

l». Mill  of  Kolaml,    I  h.-.     . .  !' 

Death    of    JUry    Stuart,    The.    JAMES    AN- 

h.iu.ii.i  ami  tin-  star.     ROBERT  BR<> 

Kin  h.  ss     >l.i\  . 

l.rlm  and  thr   FVrr  \ .      :  '. 

I  l.iin>  . 

Kni.l.  i 

H<M»,I     (Ml     til-      M..NN.      III-.        GEORGE     F 

<HI|I|-H   Hl>.   The.     FKEOEKK  k 

(•oil l-n   supper.    The.     ALFKKI      I 

(iuiu>-> 

ll-art    ..I    Km.-.-.    I'll*-.     WILLIAM   R.  A 

lluirh   Mitli.-rlan.r- 

l>an    I  \aiim  ili-h.      K  :    MKOXVMNC. 

kiuir  anil   tin-  Mi:h  t  JIILM!-*.    I  he.      * 

KiiiL-  John   an. I    the    \l.l...t    of  Canterbnrjr. 
Kinv  >li-ililail'>    l'araili»f.      IUIN  ARNOLD. 
I. ad)    in   romii>.     I  li 
I..-. in I    of   St.     <  luistopher.    The.      MARY 

HER. 


I  ittl.-   Itliu- 

l.ittN-   «.ran<l    lama.    I  In  .       i 

l.urliiu-  :  .T.   I  In-  Kniirht  s  VixH  |,,  «h..  >|..r- 

K     H  u       H.   M-  • 
-    VntoiiM-tl«-.      I  ( 

.«i|.-.    The 

rink-rton's     \rail-ni)    lor    Vonug   La- 
ii-x.      \\  AV. 

>li-.    I.  i-o  Iliint-r.     Cl 

(Mil  s».(laii  Chair.  Thr.  SON. 

Ol<|    x|;,,.  's    I  ..in.  Ml  .     I  hr. 

Orik'in  o(   Koast    I'i^-.   I  h^.     CHARLES  LAMB. 

On.  |    |:,,a. 

I'arnrf   anil  tin-  (  u<  k>»..    I  In-. 

k   on   tin-   Mall.    HM-. 
r.-.tlr,     ami     His     I  rniii|.  i-t.     Hi,-.       I 

IMi»-i<li|.|.iiles.     ROBERT  BKOWMNG. 

I'lam    hirr.tioii.    \. 

Kr»,-|s  of  thr   I  Man,  Hie.     AMELIA  H.  ED- 

Y  li/aln-t  h.      (" 

speare's  Dream.    Arranged  by  - 

sunn   storm.  The.     R.  I)    Hi  A<  KMOKH. 

Streets    of    l.oii.lon.    I  hr.  ,  D1TH. 

SultMii  mill  the  Putter.  The.    1   ;  WIN  A 
Snanaire   Ita).   In.  *  KAIK. 

lurtl.-s.   The.      1  1 

terniiira.     Dr.  \n   M    :..tK  CRAIK. 

\  isjoil      of      I'  -ZABETH      B  V 

Vi>  ien. 

\\hit,-  ship.   The.      D     MK  G.  RONETTI. 

iolir.  The.  RICHARD  H.  B  \IM\M. 


hip 
'  l-i 


Price,  35  cents,  postpaid  ;  cloth,  60  cents,  postpaid  ;   cloth,  extra  paper, 

gilt  lettering,  $1.00,  postpaid;  with  the  usual  teacher's  discount. 

LIBERAL   REDUCTION  ll'HEN  ORDERED  AV  Ql'AXTlTIES. 


Address  the  Publisher, 

EDGAR   S.  WERNER, 
28   WEST   23o  ST.,    =      -     NEW  YORK. 


Musically  Accompanied  Recitations! 

The  Reader  does  not  Sing  but  recites  the  Piece  in  the  Usual  Way,  while  another  Person 
Plays  the  Accompaniment  on  Piano  or  Organ,  thus  Lending  the  Power  of  Music  to  the 
Reader's  Voice  in  Bringing  Out  the  Effects  of  the  Recitation. 

MAILING  PRICE. 

AUX  IT  ALIENS.  Poem  by  Owen  Meredith.  Music  by  G.  Verdi.  As  arranged  and 
recited  by  Mr.  Charles  Roberts,  Jr.  This  poem  is  too  well  known  to  need  descrip- 
tion. With  this  musical  accompaniment  it  is  doubly  effective $0.60 

THE  LAST  HYMN.  Poem  by  Marianne  Farningham.  Music  by  P.  Giorza.  Story 
of  a  shipwreck  near  the  shore.  A  man  is  seen  clinging  on  a  spar,  without  hope  of 
res.  -ue.  The  people  hear  him  sing  "  Jesus,  lover  of  my  soul."  The  reader  that  can 
sing  this  simple,  familiar  hymn  will  have  a  most  powerful  and  pathetic  piece 50 

THE  SHADOW  OF  A  SONG.  Poem  by  Campbell  Rae-Brown.  Music  by  Edgar 
S.  I 'l.u-e.  Story  of  a  girl  who  sings  to  her  dead,  blind,  twin  brother  whom  she  had 
tended  with  marvelous  affection.  Her  lover  overhearing  her  sing,  suspects  her  of 
communing  with  a  dead  love  and  accuses  her.  She  is  so  wounded  by  his  suspicion 
that  she  leaves  him  forever,  saying  as  she  goes,  that  she  will  sing  the  song  again 
just  before  she  dies.  A  year  afterward,  the  lover,  who  is  alone  and  disconsolate, 
hears  the  song,  and  realizes  that  she  (.who  is  unseen)  is  dying.  Introduces  a  song. 
•lie  singer  and  the  piano  are  invisible.  This  is  the  greatest  reading  of  the 
year,  and,  with  proper  rendering,  produces  wonderful  effect  upon  an  audience 50 

Til  E  TRAGEDY.  Poem  by  T.  B  Aldrich.  Music  arranged  by  P.  Giorza  from  La, 
Traviata.  The  poet,  while  witnessing  the  play.  La  Dame  aux  Camelias,  recog- 
m/es  in  theaudi6DC6agiri  whom  he  had  known  years  ago,  and  who  has  fallen  into 
sin.  He  muses  that  the  real  tragedy  that  night  was  this  woman  who  played  despair.  .50 

THE  r.iM  DICTION.  Poem  by  Francois Coppee.  Music  by  Edgar  S.  Place. 
This,  as  is  well  known,  is  a  story  of  the  siege  of  Saragossa,  where  the  troops  shot 
down  a  lot  of  monks,  finally  shooting  an  old  priest  at  the  altar  who  was  in  the  act 
of  giving  the  l>enediction.  Very  dramatic,  and  one  of  the  chief  pieces  in  the 
repertoire  of  Prof.  J.  W.  Churchill  and  Mr.  Charles  Roberts,  Jr TO 

HOW  WE  KEPT  THE  DAY.  Poem  by  Will  Carleton.  Music  by  W.  E.  G.  Evans. 
This  is  a  humorous  account  of  a  country  Fourth  of  July  celebration,  introducing 
the  various  national  airs  and  other  tunes  usually  played  on  such  occasions 75 

Til  E  IN  CM.,  as  recited  by  Henry  Irving.  Poem  by  H.  G.  Bell.  Music  composed 
I iy  Sir  Julius  Benedict,  expressly  for  Mr.  Irving.  Very  dramatic  story  of  two 
brothen  uho  loved  the  same  woman.  The  unsuccessful  suitor  murders  his  brother 
by  lex-king  him  in  a  chest.  Years  afterward  the  murderer,  in  a  fitof  remorse,  tells 
the  story  to  his  nephew,  and  dies 60 

TH  E  STORY  OF  SOME  BELLS.  Music  by  Edgar  S.  Place.  Story  of  an  artisan 
who,  having  cast  a  tuneful  chime  that  was  carried  off  in  war,  became  disconsolate 
and  wandered  for  years  through. foreign  lands  in  search  of  his  bells.  At  last  he 
linds  th.-m.  and  as  they  play" Home.  Sweet  Home," he  dies.  Very  appropriate 
for  young  ladies 50 

K I NG  ROBERT  OF  SICILY.  Poem  by  Longfellow.  This  great  poem  is  too  well 
knoun  t<>  need  description.  Every  one  who  recites  it  should  have  this  musical  ac- 
companiment, which  adds  greatly  to  its  rendition 1  50 

COl'NTRY  SLEIGHING.  Poem  by  E.  C.  Stedman.  Charming,  semi-humorous 
description  of  an  old-fashioned  country  sleigh-ride.  Light  and  frolicsome,  with 
splendid  opportunity  for  by-play 50 

Ml  SIC  ON  THE  RAPPAHANNOCK.  Poem  by  C.  C.  Somerville.  Story  of 
Northern  and  Southern  armies  encamped  on  the  banks  of  the  river,  so  near  that 
each  can  hear  the  other's  band.  When  one  army  plays  a  war-tune,  the  other  army 
responds  with  its  war-tune,  until,  finally,  one  side  plays  "Home,  Sweet  Home/1 
which  so  touches  the  other  side  that  it  joins  in,  and  for  the  time  being  the  North 
and  the  South  are  one.  Appropriate  for  G.  A.  R.  meetings,  etc 50 

I  DREAM.  Poem  by  Rev.  D  wight  Williams.  The  happiness  and  beauty  of  the  here- 
after as  foreshadowed  in  a  dream.  Suitable  for  Sunday-school  and  church  enter- 
tainments, as  well  as  for  other  occasions 50 

THE  FUGITITES.  Poem  by  Shelley.  Music  by  Robert  Schumann.  -Story  of 

runaway  lovers,  who  are  cursed  by  her  father,  and  who  are  exposed  to  a  storm.  .40 

Sent  on  receipt  of  price.    Address  the  publisher, 

EDGAK  S.  WEBNER,  28  West  23d  St.,  New  York. 


THE    DIAPHRAGM    AND    ITS    FUNCTIONS. 

CnNSlUEKED  SPECIALLY    IN   ITS   RELATIONS  TO    RESPIRATION  AND    THF 
PRODUCTION    OF    Y<>! 

By  J.   M.   W.   KITCHEN,    M.D. 

Original  Illustrations.    Cloth,  Flexible  Covers.     Price,  $1.OO. 

THE  THROAT  AND  ITS  FUNCTIONS 

IN  SWALLOWING,  BREATHING  AND  THE  PRODUCTION  OF  THE  VOICE. 

By   LOUIS   ELSBERG,  A.M.,  M.D. 

itrations,  prepared  expressly  for  th 
Elocutionary,  Singing  and  School  Pupils.      I'rtce,  !£.', 


Twenty-five  illustrations,  prepared  expressly  for  this  work.     A  most  excellent  bo*i  ;or 

"  ri'r 


HABITUAL    MOUTH-BREATHING  : 

ITS  CAUSES,   EFFECTS  AND   TREATMi 

By  CLINTON   WAGNER,  M.D. 

Original  Illustrations. 

There  is,  perhaps,  no  habit  more  common,  and  none  less  seriously  considered  from  a 
medical  or  saniurv  point  of  view  than  the  habit  of  mouth-breathing;  its  effects  are  per- 
nicious, often  dangerous  !•/•/««.  -'•>  0M 

PRACTICAL    METHOD    OF    SINGING; 

BASKI)   UPON   NATURAL    AND   ARTISTIC  PRINCIPLES, 

INCLUDING 

A  Thorough  Course  of  Training  in  the   Art  of  Breathing  and  Voice-Building,  together  with 
refully  prepared  set  of  Vocal  Exercises,  the  whole  forming  a  Plain,  Compre- 

hensive and  Progressive  Course  for  the  Cultivation  of  the  Voice. 
Designed  both  for  Teachers'    use    and   for    Students'   Self  Instruction. 

By  JOSEPHINE    RAND. 


HYGIENE    OF    THE    VOICE. 

By  GHISLANI    DURANT,  M.D. 

CONTENTS  —Sound,  Pitch,  Intensity.  Quality;  Theories  of  the  Formation  of  the  Voice  ; 
Anatomy  of  the  Vocal  Apparatus  ;  Formation  of  the  Voice  ;  Registers  of  the  Voice  ;  Timbre 
of  the  \  ..ifnomyof  the  Voice  ;  Respiration  ;  Alimentation;  Sleep;  Preservation 

of  the  VDKI-  ,   DiMMM  of  tM  Voice  ;   Prescriptions.     1'rice,  $t..~>O. 

SCIENCE  OF  VOICE-PRODDCTIOH  AND  VOICE-PRESERVATION, 

By   GORDON    HOLMES,  M.D. 

friVr.    .SI.  00. 

THE    CASE    OF    EMPEROR  FREDERICK  III. 

rn.L    OFFICIAL    REPORTS 

By  the  GERMAN  PHYSICIANS  and  SIR  MORELL  MACKENZIE. 

THIS  is  THE  ONLY  EDITION  giving  in  one  book  the  unabridged  reports,  with  all  of  the 
illustrations,  of  SIR  MORELL  MACKENZIE  and  of  the  GERMAN  PHY-I  \  /'/•*><.  .si.:>.-t. 


Amy  of  these  books  sent,  postpaid,  on  receipt  of  price. 

.4,Mr»st      EDGAR  S.  WERNER, 
28  WEST  23o  STREET,  NEW  YORK. 


A    DELSARTE    PRIMER. 

j&oieftj  Ejjmnagtsicg  and  Voice-tone, 

ADAPTED   FROM  THE 

DELSARTE    SYSTEM. 

Specially  for  Class  Use. 

Regular  Lessons,  with  Questions  for  Pupils  to  Answer  and  Portions 
of  the  Text  to  be  Memorized. 

MUSIC   TO  ACCOMPANY   THE  MOVEMENTS. 


By   QENEVIKVK  STKBBINS. 

The  author's  exhaustive  studies  and  long  experience  as  a  Delsarte- 
teacher  in  fashionable  young  ladies'  schools,  pre-eminently  qualify  her 
to  prepare  a  work  on  gymnastics  and  voice-culture  according  to  the 
in  of  Francois  Delsarte  for 

*  Schools  of  All  Grades.  ^ 

The  distinguishing  characteristic  of  the  Delsarte  gymnastics  is  that 
they  have  an  aesthetic  intent  and  effect,  harmoniously  developing  the 
onthv  man  and  not,  as  do  the  ordinary  and  old-time  gymnastics,  develop- 
the  physical  at  the  expense  of  the  mental,  and  also  resulting  in  dispro- 
portionate growth  and  in  angularity  instead  of  grace.  They  have  been 
developed  from  studies  of  the  Greek  marbles,  and  are  designed  to  cul- 
tivate in  individuals  what  Winkelmann  styles  "the  repose  in  action  "  of 
great  statues.  They  give  reserve  force,  habitual  grace  of  movement  and 
sweetness  of  voice,  so  essential  to  all  who  move  in  good  society.  They 
correct  awkwardness  or  stiffness,  whether  proceeding  from  self -conscious- 
ness or  timidity,  and  eliminate  disagreeable  qualities  from  the  speaking- 
voice,  siR-h  as  nasality,  harshness  or  shrillness  of  any  kind. 


Cloth,  Teachers'  net  price,  $1 ;  by  Mail,  $1 .08. 


Address  the  Publisher, 

EDGAR  S.  WERNER,       28  West  23d  Street,  New  York. 


A  FEW  MOKE  COPIES  IAA-TI 

WERNER'S  DIRECTORY 

Of  Elocutionists,  Readers,  Lecturers,  and  other 
Public   Entertainers. 

THIS  is  THE  BOOK  Yor  NEF.D,  r.r.<  A.UB1  IT  CONTAIN^  : 

1.  A  List  of  over  10,000  Pieces  for  Declamation  and  Kecita- 

tion.  Alphabetically  Arranged  with  Authors'  Names,  and 
Telling  in  what  Books  each  Selection  may  be  Pound. 

Tliis  is  «.f  crreat  advantage  U»  public  readers  \\hono\v  know  where  to  find  any  Selection. 
ami  a  KM  what  pi-  ces  have  become  naekneved.  thus  enabling  them  to  prepare  Creu  jir<  "grains. 
This  feature  makes  it  a  valuable  lx>ok  «.f  ivffn-iirr  t"  interested  in  tin-  _ 

English  hit«-ratui-«-. 

2.  A  List  of  2,500  Dialogues,  with  Number  of  Male  and  Fe- 

male Parts.  Arranged  Alphabetically,  with  Names  of 
Books  where  the  Dialogues  may  be  Found. 

litablf  f»r  ,;  .,]s.  authors'  Mays,  anniversa- 

i.-ftin.^s,  h'  ami  various  OUWT  occasions. 

3.  History  of  the  Literature  of  English  Elocution,  Beginning 

130  Years  ago,  and  Coming  to  the  Present  Time.  With 
a  Description  of  the  Principal  Books  and  Methods  that 
have  been  Published. 

This  is  tin-  ino-st  eoinjilcN-  Ubttognphj  <>f  Kn^lish  «-loi-ution  ever  ]nil)li>hrtl. 

4.  Biographical  Sketches  and  Portraits  of  Prominent  Elocu- 

tionists. 


This  is  tin-  f>nl>  Ix.dl,-    that    Drives   an  account    of  th»-  lift-  and   work  of  those  who  liavc 
nttain.-<l  ilistin.-tio'n  in  the  elocutionary  world. 

5.  Names  and  Addresses  of  the  Elocutionists,  Reciters,  and 
Readers  of  the  United  States  and  of  Canada. 

For  the  (irst  time  the  elocutionary  fraternity  is  ^'iven  :\  standing  before  the  public  like 
(he  other  learned  profev.  utioiii-t   should   take  pride  in   this   fact,  and  do 

all  he  can  to  circulate  a  In.ok  that  taodl  to  ]ir<.mot««  his  int. 

SPECIAL     OFFER. 

If  you  send  at  once,  you  may  have  a  <  o|>y  for  $1.25  postpaid.  (The 
published  prico  is  $3.)  Well  printed  and  bound,  8vo,  400  pap-s.  Not 
for  sale  at  bookstores.  Send  direct  to  the  publisher, 

EDGAR  S.  WERNER,  28  West  23d  St.,  New  York. 


Brown's*  Common  *  School  •  Elocntionary  *  Selections. 

A  Careful  Selection  of  Prose  and  Poetical  Compositions,  Adapted  for  Public  Readings 

and  School  Recitations,  with  a  Key  Containing  the  Proper  Elements 

Required  in  the  Delivery  of  Each  Selection. 


CONTENTS. 


An  Adjuration.    D.  N.  Shelley. 
Antony's  Address  to  the  Romans. 
Attention  the    Soul    of    Genius.      Dr.  O. 

Dewey. 
Aunt  Tabitha. 

Hanoi's  Last  Banquet,  The.    A.  G.  Green. 
I  Van      T.  II.  Robertson. 
Meantit'iil  Smuv,  The.    James  Watson. 

until   of   Ragenbach,  The.    Frank 

Murray. 

Unit  i is  on  the  Death  of  Caesar. 
Uugle  Song,  The.    Alfred  Tennyson. 
Call  to  Vote,  A. 

<  'atastrophe,  A.    Peleg  Arkwright. 
( 'harp- .  >(  the  Light  Brigade,  The.    Alfred 

Tennyson. 

Chin. -se  Dinner,  The. 
c..l. .red  Debating  Society,  A. 
Court  in'.  The.     J.  R.  Lowell. 
Courtehip  under  DinVnlnes. 

Lao!  ill--  iseiu.    Qeo.  \v.  Bungay. 
Darkey's  CoiniM'I  to  the  Newly  Married. 

Edmund  Kirke. 
Dead  I  loll.  The. 

Death  of  Gaudentis.     Harriet  Annie. 
Dm!-,  -h  Maud  Muller,  The.    Carl  Pretzel. 
Dutchman's  Serenade,  The. 
Dutchman's  Telephone,  The. 
Kl. iinienei-.    Lewis  Cass. 
Km -hant. -.1  Shirt.  The.    John  Hay. 
Engineer  and  Child,  The. 
F.\iU  1. 1'  Urn«>rance,  The.    Horace  Mann. 
Kxtraer     from    "  Morituri    Salutamus." 

Longfellow. 
Fa.-.-  Against   the  Pane,  The.     T.  B.  Al- 

drieh. 
Father  Land  and  Mother  Tongue,  Samuel 

Lo\ 

Find  a  \Vny  or  Make  it.  Mary  E.  Lambert. 
Fire  Bell's  Story,  The.    George  L.  Catlin. 
First  Party.  The.    Josephine  Pollard. 
Flying  Jim's  Last  Leap.    Emma  Dunning 

Banks. 

Gladiator,  The.    Jones. 
Gone  Before.    B.  F.  Taylor. 
Good-night,  Papa. 

(i rattan's  Reply  to  Mr.  Corry.  H.  Grattan. 
(Juiltv  or  Not  (iuilty. 
Hang  up  the  Baby's  Stocking. 
He  and  She.    Edwin  Arnold. 
Honest  Deacon,  The. 
How  He  Saved  St.  Michael's. 
How  They  Pop  the  Question. 
Jf  We  Knew. 
Irishman's  Panorama,  The.    James  Bur- 

dette. 


Katie  Lee  and  Willie  Gray. 

King  Volmer  and  Elsie.    John  G.  Whittier. 

Larrie  O'Dee.    W.  W.  Fink. 

Larry's  on  the  Force.    Irwin  Russell. 

Launching  of  the  Ship.    Longfellow. 

Letter  of  Marque,  The.    Caroline  F.  Orne 

Little  Steenie.    Anna  L.  Ruth. 

Lodge  Night. 

Lost  and  Found.    Hamilton  Aide. 

MacLaine's  Child.    Charles  Mackay. 

Magic  Isle,  The. 

Mahmoud.    Leigh  Hunt. 

Mark  Twain's  European  Guides.    Samuel 

L.  Clemens. 

Marriage  of  Santa  Claus,  The. 
Miss  Edith  Helps  Things  Along.      Bret 

Harte. 

Miss  Edith's  Modest  Request.    Bret  Harte, 
Mocking-Bird,  The.    A.  Wopkins. 
My  Daughter  Jane.    Sarah  L.  Flowers. 
Nature  Proclaims  a  Deity.    Chateaubriand. 
Nearer  Home.    Phoebe  Gary. 
Nebuchadnezzar.    Irwin  Russell. 
Night  Before  Christmas,  The.    C.  C.  Moore. 
Organ  Builder,  The.    Julia  C.  R.  Dorr. 
Our  Best  Society.    Curtis. 
Our  Country.    Daniel  Webster. 
Parson  Caldwell.    Bret  Harte. 
Parson's  Sociable,  The. 
Parrhasius.    N.  P.  Willis. 
Patient  Mercy  Jones.    Jas.  T.  Fields. 
Philosophy  of  Laughter.    Mrs.  C.  M.  Peat. 
Practical  Young  Woman,  A.  Irwin  Russell. 
President  Lincoln's  Address.    A.  Lincoln. 
Progress  of  Humanity,  The.    Charts  Sum- 

ner. 

Regulus  to  the  Carthaginians.  E.  Kellogg. 
Setting  a  Hen. 

She  would  be  a  Mason.  James  C.  Laughton. 
Similar  Case,  A. 

Sneezing  Man,  The.    Ward  M.  Florence. 
Something  Left  Undone.    Longfellow. 
State  Immortal,  The.    Daniel  Webster. 
Sudden  Cure,  A. 

There  is  no  Death.    Lord  Lytton. 
Two  Loves  and  a  Life.    William  Sawyer. 
Vas  Bender  Henshpecked  ?    Von  Boyle. 
Water.    Judge  Arrington. 
Way  to  Heaven,  The.    J.  G.  Holland. 
Well  of  St.  Keyne,  The.    Robert  Southey. 
We  Shall  Know.    Annie  Herbert. 
Western  Lawyer's  Plea  against  the  Fact,  A. 
What  is  a  Minority  ?    J.  B.  Gough. 
When  Will  You  Come  Home  Again  ? 
Whistler,  The. 


,'.7  cents,  postpaid.    5  copies  $1,  postpaid.    25  copies  $4,  postpaid. 

Address  EDGAR  S,  WERNER,  28  West  23d  Street,  New  Tort 


A  BOOK  THAT  EVERY  VOICE-USER  SHOULD  HAVE. 


Gymnastics  of  the  Voice; 

A   SYSTEM  OF  CORRECT  BREATHING  IX  SINGING  AND  SPEAK. 
ING,  BASED  UPON  PHYSIOLOGICAL  LAWS. 

A  Practical  Guide  in  the  Training  and  Use  of  theS|>eakiii^  ami  "inking- Voices 

DESIGNED   FOR   SCHOOL*   AM>   FOR  SELF -7.V> TRl '(.  J7OX. 
BT  OSKAH  ( 


PART  I  treats  of  the  Anatomy  of  the  Respiratory  and  Vocal  Organs. 
PART  II  treats  of  the  Activity  of  the  Vocal  Organs. 

PART  III  treats  of  the  Correct  Pronunciation  of  Letters  and  the  Correc- 
tion of  Defects. 

PART  IV  treats    of    Respiration     in    a    Masterly    Manner,    giving    full 
Directions  and  Exercises  for  Practice. 


POINTS  OF  SUPERIORITY  :  -  (1)  It  \s  founded  on  natural,  scientific  laws.    (2)  It  Ifl 
safe.    (3)   It  is  plain  and   i  It   has  IM-.-U  thoroughly  tested.    (5)   It  baa 

produced  satisfactory  results.      (6)   It  Is  recognized  as  authority  in  Anu-rie.-i  and  in 
Eun  •;  .- Ix-en  tran-latrd  into  a  numl»r  of  lani'iiair.-s.     CM  It  is  us«-<l  a^  a  t«-xt- 

book  in  Harvard  University,  in  other  schools  and  by   I'rivat.-  teachers.     i'.»i  It  is  com- 
plete  and  comprehens  .  original  in  design,  r«.nv»-ni«-nt  in 

arrangement,  and  unequalled  in  «-.\i-»-;         .  it  is  Bneljr  printed  and  boond  and 

fully  illustrated.    (12)  It  is  a  sure  guide  in  the  training  of  the  voice.    (13)  It  is  sold  at  a 
low  price. 


28  Illustrations.     Finely  Printed  and  Bound.     $1.25  Postpaid. 
Address  the  Publisher, 

EDGAR   S.   WERNER, 
28  West  23d  Street,  New  York. 


HOLMES'S  •  RECITATIONS 

Designed  for  Public  and  Social  Entertainments  and 
for  use  in  Schools  and  Colleges. 


After  Sixty  Years  ;  or,  Lost 

and  Found. 
Asleep  at  the  Switch. 
Away  from   the  Wine-Cup, 

A  way. 

Uald-HeadedMan. 
Ballad  of  Brave  Women. 
Ballad  of  Cassandra  Brown. 
Banford's  Burglar  Alarm. 
Bell  of  Zanora. 
Biddy     O'Brien      has     the 

Toothache. 
Bid.ly's   Trials    among    the 

Yankee* 

Brother  Walking. 
i;iinl<.rk's  Music-Box. 
Burglar-  Alarm. 

MnrniiiK  Ship. 
<  'enteiiniul  <  Me. 
Changing  Sea. 


Christ  mas  Carol. 

<'hurch  Reveries  of  a  School 

(iirl. 

College  •'(  Ml  Cans." 
(  'nw  and  tin-  Bishop. 
<'re«-ds  of  tin'  Hells. 
Daniel  in  the  Lion's  Den. 
1  >ai^\  's  I  aith. 

Mnnroe'sStory. 
•  n's  (  'oiirtship. 
Death  of  the  Owd  Squire. 
Decoration  Day. 
head  Doll. 

D.'ift  Drink  Tonight. 
East«r-Tide  Deliverance.    A. 

D.  »:M. 
Knn-rtaining  Her  Big  Sister's 

Beau. 

Eulogy  on  Lincoln. 
Excelsior. 
Exhibition. 
Faithful  Unto  Death. 
Fall  of  Pembertou  Mill. 
Famine. 
Farmer  and  Wheel  ;  or,  the 

New  Lochinvar. 
Finding  of  the  Cross. 
First  Party. 
Fisher's  Daughter. 
"Flash.'1       The    Fireman's 

Slory. 


CONTENTS. 

Flag. 

Flood  of  Years. 

George    Washington,    Aunt 

Polly's. 
Gettysburg. 
Ghosts. 

Girls  Study,  How. 
Girl's  View  of  Life,  A  Little. 
Gone    with    a    Handsomer 

Man. 

Gottlieb's  Christmas,  Little. 
Greeting,  Domestic. 
Harry. 

Heart  Throbs. 
Heroine  After  All. 
Hero,  The  Little. 
How  we  Hunted  a  Mouse. 
Husband's  Grief. 
Husband's  Joy. 
"Inasmuch,"   A   Christmas 

Story. 

Intelligent  Bird,  A  Very. 
Jamie. 

Jane  Conquest. 
Jenkins  Goes  to  a  Picnic. 
Jimmy      Brown's      Sister's 

Wedding. 
Jimmy       Brown's       Steam 

Chair. 

Jimmy  Butler  and  the  Owl. 
Kate  Shelly. 
Kentucky  Philosophy. 
Laaca. 

Legend  of  the  Christ  Child. 
Legend  of  the  Northland. 
Legend  of  the  Organ-Builder. 
Lighten  Deadman's  Bar. 
Little  Children  in  Heaven. 
Little  Rocket's  Christmas. 
Marit  and  I. 

Marriage  of  Santa  Claus. 
Mary's  Night  Ride. 
Mat  and  Hal  and  I. 
Medley. 
Memorial  Day. 
Memorial  Day. 
Mona's  Waters. 
Mount  of  the  Holy  Cross. 
Mystic. 
Neighbors. 

New  Cure  for  Rheumatism. 
Old  Huldah. 


Old  Simon  Dole. 

Old  Times  and  New. 

Old  Woman's  Complaint. 

Order  for  a  Picture. 

Old  Folks. 

Papa's  Letter. 

Pat's  Excelsior. 

Pequot  Idyl. 

Perplexed  Housekeeper. 

Phantom  Ship. 

Poor-House  Nan. 

Pure  as  the  Snow. 

Quaker  Sinner,  The  Little. 

Railway  Matinee. 

Receiving  Calls. 

Red  Jacket. 

Ride  of  Jennie  M'Neal. 

Robert  of  Lincoln. 

"Ruby"  Played,  How. 

Rumseller's  Refrain. 

Sam  Weller's  Valentine. 

Sandy  McDonald's  Signal. 

Saved  by  a  Hymn. 

Schoolmaster's  Guests. 

Setting  a,  Hen. 

Sheridan's  Last  Battle. 

She  Wanted  to  Learn  Elocu- 
tion. 

Ship  of  Faith. 

Sioux  Chief's  Daughter. 

Tell-Tale. 

Tilghman's  Ride. 

Tim  Crane's  Proposal. 

Tom's  Little  Sta  . 

Too  Late  for  the  Train. 

Tribulations  of  Biddy 
Malone. 

Trouble  in  the  "Amen 
Corner." 

20th  Anniversary  of  Mystic 
Valley  Institute. 

"Uncle  Ben." 

What  a  Christmas  Carol  Did. 

What  the  Choir  Sang  About 
the  New  Bonnet. 

What  the  Little  Girl  Said. 

Whistling  in  Heaven. 

Who  Stole  the  Bird's  Nest  ? 

Widder  Greene's  Last 
Words. 

Young  Soldier. 

Yours  Truly. 


Over  5OO  pages,  well  printed  and  bound  in  cloth,  $  1 .50,  postpaid. 
Copy  for  examination  will  be  sent  for  $  1 . 1  O,  postpaid.  Schools 
and  teachers  supplied  in  quantities  at  liberal  reduction.  Send 
for  special  rates.  Address  the  publisher, 

EDGAR  S.  WERNER,  28  West  23d  St.,  New  York. 


THE  WORKS  OK 

A.  MELVILLE  BELL. 

1.  Essays  and  Postscripts  on  Elocution.    Price  $1  25. 

Contents :  Tin-  Science  of  Elocution,  Faults  in  Heading  and  Speaking,  English 
Pronunciation,  English  Phonetic  Kl.-tm  nt<.  Alphamttoa,  Relation  of  Tonea 
to  Language,  The  Tones  of  speech.  Tin-  [nstrament  of  speech.  Respiration 

in  -peech.  Phonetic  Svllabication.  Accent,  Kmphasi-.  Rhythm  as  Aftodiru? 
Reading.  Hhyme  a<  Atr -i-tinir  Pronunciation,  Kxpres<jVe  Speech.  Action, 
<  '-  and  Impediments  of  Speech,  Or- 

thography. Vi-ibilit\  linit  itmn.   '{--admir  and  Headers,  Oratory 

and  <  >rators.  An  Alphabet  "f  <  >r.itor<.  A  Shadow-Class  of  Studen 
it.  Principle!  of  Elocution  (new  edition.)    Price  $1.50. 

This  hook  contain<  u  summary  of  the  principle  «f  Vocal  Physiolotry:  an 
original  analv-is  ol  the  Tones  of  Speech,  and  the  Laws  of  Kmpha«is.  and  a  full 
•     .pment  of  the  I  »tnre«   etc.     Illus- 

trated by  £00  passages  marked  f<- 

3*  Principle*  of  Speech,  Dictionary  of  Sounds  and  Cun-  of  stammering. 
1'nce  S1.50. 

In  tin-  Work  tiic  Theory  of  Articulation  and  the  Mechanism  of  Vowel  and 
Consonant    Sound-   are   minutely    explained.       All    the  element-  id    Bujrltsh 
i.it.  i\  treated  of  In  dictionary  arrangement,  with  refeience 
lo  the  defects  to  Which  they  aie  <ut>je«-t.  and    1  •  d   tor 

the  attainm,  nt  -tammerinur  and  Stiitterinir 

are  tully  detined,  and  dirc-ct  ion-  arc  m veil  l>y  which  the  sufferer  can,  by  h:s 
own  elTort-.  remove  the  inipediii 

4.  The  Fauli- of  *,>,  .  .  h.     I-. 

'A  self-corrector  and  'I  !  maul  for  the  removal  of  Hef  (-t-  of  Ar- 

tictilatio:  -imple  and    |.raeiiral    direction-    arc    liinii-lied    lor    (lie 

removal  of  Stamnn  rinu'  and   Stutti  •  I   as   I.is|»ini;,  Burrin_r  and 

nil  mir.or  hlemi-lu-  of  sjM'irh.  Kutiivly  live  from  technicalities  and  equally 
adapted  to  the  n  readier  or  • 

5.  Sounds  and  th<ir  Helatioim.     Price  $l..Mi.  eloth  H 

In  this  work  the  varieties  and  relations  of  all  Linguistic  Sounds  are  ex- 
plained b\  mean*  of  the  \  -smliols.  A  Complete  Manual  for 
tho-e  c(,nimencing  the  -tudy  «.l  the  Sy-tem  of  Visible  Speech. 

6.  Vi-il»l«   Sp<  <  i  h  Header.     Price  4"1 

A  iti.nk  for  the  Nursery  and  the  Primary  School.  <  M,  the  basis  of  ••  Sounds 
and  their  Hdai 

f .  Visible  Speech.     Inaugural  Edition.  4to.     Price  $4.00. 

The  Bdeooe  «\    l"ni\. -r-al   Alphalietics.      SeM-intcrpretiiiL',    Physiological 
Letter<  for  writing  all  Language-  in  <  me  A'l'hab  t.  and  tor  teaching  tie 
to  -peak.    Illustrate  1  by  Tables,  Diagrams  and  Examples. 

8.  English  Visible  Speech  for  the  Million.     Price  40  cts. 

vact   pronunciation   of  the  language  to  native,  foreign 

or  illiterate  learners.  On  the  basis  of  the  >•  Inaugural  Edition."  Illustrated 
by  diagrams. 

9.  The  Emphasized  Liturgy.    Price  $1.00. 

With  an  introductory  essay  on  the  Principle*  of  Public  Heading,  fn  this 
work,  the  Morning,  i:\emn-.  < 'ommunion  and  liuiial  Service",  and  all  the 
Collects,  are  marked  for  emphasis  and  clause. 

10.  English  Line-Writing.    Price  60  cent-. 

On  the  basis  of  "Sounds  and  their  Relations."     Fn  this  work  the  Line- 
Alphabet  is  applied  to  English  in  two  forms:  <li  partiady  phonetic— an  intro- 
ductory method  for  children  :   (->)  exactly  phonetic.     Heading  Kv 
furnished  in  both  forms,  and  a  theoretical  explanation  of  the  alphabet  is 
appended. 

11.  Lectures  on  Phonetics.    Price  60  cents. 

Delivered  in  Johns  Hopkins  University,  and  Oxford  University  (England). 


&:  nt  postpaid  on  receipt  of  price.    Address  the  Publisher, 
EDGAR  S.    WERNER,  28  West  23d  Street,  New  York. 


THE  ART  OF  BREATHING 

As  the  Basis  of  Tone-Production. 

A  Book  Indispensable  to    all  Educators,  Teachers^ 

Preachers,  Lawyers,  Singers  and  Elocutionists, 

and   to   Every  one  Desirous  of   Having  a 

Pleasant  Voice  and  Good  Health. 

By  LEO  KOFLER, 

Organist  and  Choirmaster  of  St.  Paul's  Chapel,  Trinity  Parish,  New  York. 
Bein^  a  tici'i  sett  ami  Enlarged  Edition  of  "  The  Old  Italian  School  of  Singing." 

SOME  OF  THE    SUBJECTS  TREATED. 

History  of  the  Book:  Autobiographical  Sketch  of  the  Author's  Professional  Career  'r 
The  study  of  Physiology  Indispensable  to  the  Vocal  Teacher  ;  Imitation  or  Cultiva- 
tion by  Means  of  tin-  Kar  :ui  Important  Agency  ;  Singing-Lessons  by  Mail  an  Unmiti- 
gated Humbug:  Nationality  DO  Criterion  of  a  Teacher's  Merit;  Vocal  Critics  and 
Critical  Vocalists  ;  Tin-  Act  of  Inspiration  ;  Clavicular  or  High-Chest  Breathing? 
Costal  or  Rib-Breathing  :  Diaphragmatic  Breathing:  Take  Breath  with  the  Combined 

Breathing-Muscles th«-  Full  Breath  ;  can  a  woman  Accustom  Herself  to  this- 

Full  Diaphragmatic  Breath-Taking:  The  Vagueness  of  Physiological  Terms  the 
cau-e  of  confusion  in  Determining  toe  Method  of  Breathing  ;  Take  Breath  Through 
th«-  Nostrils;  Obstructed  Nostrils;  The  Regular  Process  of  Respiration  Outside  of 
singing  and  speaking  :  Tin-  Short  or  Quick  Taking  of  the  Breath  ;  The  Act  of  Expi- 
ratioii  During  Singing  :  Hi -tain  tin-  Bn-ath  a  Little  While  ;  The  Larynx  and  the  Vocal 
Ugaments  Controlled  Automatically  by  the  Breathing-Muscles ;  Method  of  Relaxing" 
the  Lungs  During  Singing ;  General  Rule  for  Taking  Breath  and  for  Managing  it 
During  Singing  and  Speaking;  Method  of  Relaxing  the  Lungs  During- 
speaking;  Advice  to  Singers  and  Elocutionists;  Breathing-Gymnastics  the 
Souree  ,,f  Health  ;  Breathing-Gymnastics  Indispensable  to  Every  Vocalist ;  Direc- 
tions f,,r  the  Healthful  Ise  ot  Breathing-Gymnastics ;  The  Positions  of  the 
Body  for  Practicing  the  Breathing-Gymnastics  ;  Laws  of  Tone-Production  ;  The  So- 
called  sintriuir  Methods  or  Manuals;  Preliminary  Steps  in  Voice-Culture ;  Time  of 
Life  when  Cultivation  of  Voice  should  Begin  ;  Selection  of  a  Singing-Teacher  ;  The- 
Kanireof  Tones  and  Classification  of  Voices;  Resonance-Chambers  for  the 
Format  ion  of  Vowels  and  Consonants ;  The  Immovable  and  the  Movable  Parts  of 
the  Resonance-cavities;  How  to  Form  Pure  Vowels  ;  Reading  at  Sight ;  Vocaliza- 
tion or  Articulation  Kxercises?  The  Vowels  that  should  first  be  Practiced;  The  Com- 
pletion of  a  Tone  ;  Humming  Exercises  ;  Practice  of  the  Trill ;  Swell  Tones  ;  Messa 
di  Voce  ;  The  Staccato  ;  How  to  Equalize  the  Vocal  Registers  or  Breaks  of  Both. 
Men  and  Women  ;  The  Mixed  Voice,  the  Falsetto  and  the  Male  Alto  ;  Male  Sopra- 
nos and  Altos  of  the  Old  Italian  School ;  Remedies  for  Faulty  Tone-Production  and 
Other  Defects,  such  as  Lisping,  Stuttering,  Defective  r,  etc.;  Treatment  of  the  Con- 
sonants. 

SOME  OF  THE  EXERCISES. 

The  Full  Breath  with  the  Combined  Breathing-Muscles  ;  The  Healthful  Lung-Sweeper  ;. 
To  Gain  Control  of  the  Air  in  Slow  Expansion  of  the  Lungs ;  Holdins:  of  the 
Breath  ;  Opening  the  Lung-Cells  by  Percussion  of  the  Upper  Chest,  Shoulders  and 
Back  ;  Improving  the  Elasticity  of  the  Rib-Cartilages  ;  Expanding  the  Upper  Chest: 
The  Slow  Relaxation  of  the  Lungs ;  Control  of  the  Breath  both  in  Inspiration  and 
in  Kxpiration ;  Tension  of  the  Vocal  Ligaments;  Muscle-Practice  for  Loud,  Sus- 
tained Tones  ;  Control  of  the  Slow  Relaxation  of  the  Lungs  During  Speaking  and 
Soft  Singing  ;  Practice  of  the  Explosives  and  the  Repeated  Retention  of  the  Breath  ; 
Marcato;  Staccato  ;  Muscle- Practice  for  the  Crescendo  and  Decrescendo;  Muscle- 
Practice  for*the  Swell  Tones,  or  the  Crescendo  and  Decrescendo  in  one  Breath  ;  etc. 

Finely  Prinied  and  Bound.     Numerous  cuts  and  music  Illustrations. 
TEACHERS'  NET  PRICE,  $3.OO  POSTPAID. 


Address  the  Publisher, 

EDGAR   S.   WERNER, 
28  West  23d  Street,  New  York, 


XDELSflRTE  REC1THTION  BOOK* 

EDITED    BY    ELSIE    M.  WILBOR, 

Assistant  Editor  of  WEKNEK's  VOICE  MAGAZINE. 


Something    unique    in    Recitation    Books.      Original   in 
design  and   unequalled   in   excellence. 


A  NEW  MEDALLION  PORTRAIT  OF  DELSARTE,  PREPARED  SPECIALLY  FOR  THIS 
WORK,  WITH  HIS  FAVORITE  RECITATIONS. 


,  Monolognrs.    1'itcrs   n-ith 

I'tiototfriii.li*  «f    I, i, ,K»i-.    M.., /.x  /,/    .(//   that  are  be*t 
t<>   *tnt  in  -  I'll*'-*  for   L'titirttiintinnts.  etc.,  etc. 


ORIGINAL      ILLUSTRATIONS. 


A  BIOGRAPHICAL  SKETCH  OF  DELSARTE  BY  STEELE  MACKAYE. 


:M->:.-I>]<  ;ai  m- 

,f«>r  Recitation.  and  <-(.ni|.il.-r.   l.I.Sli:  M.  WILHoK.  from  lu-rli.n^  »-xperi- 

«nce  as  one  of  the  editors  of  WKKNKirs  V<  •!(  .'V.  MACA/.1NK  m  journal  «l.'V(,te«l  to  oral 
lauguap-  .  is  ]»iMiliarly  (iit.-.l  for  th«-  work,  and  she  has  performed  h«-r  task  well,  cnll.-ctin^ 

|  .  ran^in^r  from  simple,  childish  to  the  ino^t  <lra- 

•  It-ctioii  forming  an  exceptionally  excellent  all-round  book— one  in  which 
reader,  no  iimtt*-:  .  !••  may  be,  will  find  something  suit*-«l  to  him. 

Tli«-  look  tr-'ts  its  naiii'-  fr"in  several  favorite  pieces  of  Delsarte's.  from  an  ejii^rain  on 
r  stntiiip  some  jM>int  in  '  m.  from  a  fine  medallion 

jHirtrait  of  Delsarte  embossed  on  tht-  cover,  and  from  illustrations,  pantomimes,  and  analy- 
ses according  to  Delsartean  principles. 

•  ith.-r  written,  translated,  arranged,  or  adapted  specially  for  the 
book,  which  contains  over  300  pages  of  recitation  K*MIIS.  not  one  but  has  its  n//.«m  il'i'tr, 

:"yin>;  reason  for  being  insert. «!.    <  »n  r  nd  l»-t\\e.-n  them  orinrinality  is 

stamped,  making  it  safe  to  say  that  no  such  a  recitation  book  has  ,-\.  i  l>een  issued,  and  that 
it  marks  an  era  in  books  of  this  class. 


r/<f/nnf/!/    llnuml.        rrirr,   $1.25,  Postpaid. 

ADDRESS  THE  PUBLISHER, 

EDGAR    S.   WERNER, 

28  West  23d  St.,  New 


CENTS 


LD  21-95m.7 ,'37 


YB  02133 


86901 3 


THE  UNIVERSITY  OF  CALIFORNIA  LIBRARY 


